"Cepat, Mesra & Betul".Baca cogan kata PDRM.
"To Serve & To Protect".Itu cogan kata polis di Amerika.
Mana2 negara di dunia hatta negara komunis pun ada polis.Tugas polis ialah menjaga keamanan dan keselamatan orang ramai dari jenayah.Perhatikan undang2 dan peraturan di patuhi.
Bukan semua orang tahu tugas polis.Ada yg ingat kerja polis tangkap orang masok lokap saja.Ada juga yg gelabah bila nampak orang beruniform dan berjeket sinar.Terutama waktu malam.Bila sampai dekat, rupanya orang JKR sedang repair jalan.
Mari kita teruskan tentang kita dgn polis.Tapi sebelum tu aku nak nyatakan di sini.Ini bukan nak 'condemn' polis.Cuma menyatakan tentang perkembangan semasa.Ini melibatkan aku,keluarga aku, kita rakyat khususnya.Kita yg sepatutnya di beri perlindungan oleh kerajaan melalui organisasi yg kita sebut POLIS.
"SLOPPY COPS UNDERFIRE!".
Itu tajuk headline akhbar The Malay Mail hari rabu 27/5/09.Bersama laporan akhbar berserta juga empat kes melibatkan kelembabpan dan betapa tak cekapnya anggota polis terlibat dlm menjalankan tugas menjaga kepentingan dan keselamatan orang awam.Bercanggah dgn cogan kata PDRM.
Kes 1.
Dua orang anggota polis trafik sedang bertugas enggan membantu saorang mangsa wanita yg baru di ragut.Mengejar penjenayah bukan tugas mereka.Itu yg di lapor.
Setelah itu si mangsa buat laporan di balai tentang kes ragutnya, dia berdepan dgn kerenah lain pula.Kesian.Dah lah kena ragut.Polis enggan tolong.Pergi report ke balai cerita jadi lain.Tak puas si mangsa,pergi mengadu dia tentang polis ke wakil rakyat kawasan dia.???
Kes 2.
Juga melibatkan ragut.Setelah berjaya memberkas saorang penjenayah ragut,warga ni pun buat panggilan kepada polis.Polis ambil masa 1/2 jam untok sampai ke lokasi tu.Alasan polis ia lah mereka sedang tukar syif.???
Kes 3.
Saorang tuan punya pusat internet datang untok mengambil semula komputer2 yg di tahan ketika operasi.Hampir RM100,000.00 jugalah jumlahnya.Denda dan proses itu proses ini dah di bayar,tiba nak ambil barangnya hilang.Hilang dalam tahanan polis.???
Maka berjanjilah ketua polis akan menjalankan siasatan.Kes lain banyak tak selesai,tambah lagi kes yg melibatkan polis yg sepatutnya menyiasat.
(Mati dalam tahanan polis pun ada..)
Apa cerita? Mana pergi amanah? Mana pergi kredibaliti polis?
Samada kita sedar atau tidak.Peratus jenayah di Malaysia meningkat hari demi hari.Baca saja akhbar.Dengar dan lihat saja dalam peti tv.Semuanya memutarkan isi perut.Bila ini berlaku tiada siapa akan mahu memikul tanggungjawab.Bermula lah perang jari telunjuk.Menteri KDN kata macam ni.KPN kata begitu.Jenayah terus meningkat.Keselamatan rakyat terus terabai dan tergugat.
Tapi polis akan cepat bertindak dan begitu cekap sekali kalau melibatkan kepentingan orang atasan atau orang politik pemerintah.Jangan begitu.Polis mesti adil dan melindungi tanpa pilihan.Polis juga manusia biasa.Manusia ada Tuhan.Bukan robot atau cyborg yg bertindak mengikut program. Ingat ROBOCOP?.
Ketawa aku bila saorang kawan secara berseloroh berkata, andaikata isteri saorang tokoh penting negara di ragut maka kita akan lihat sekatan jalanraya setiap satu kilometer di setiap lebuhraya di setiap jalan di setiap lorong.Helikopter2 akan meligari udara.Kereta2 kebal berkubu di tiap lalu masok bandar.Sampai macam tu sekali.Lucu.Tapi memang kita boleh berasa demikian kalau melibatkan pihak tertentu.
Tak di nafikan masih ramai pegawai dan anggota polis yg bertugas memberi khidmat sebaik mungkin dan jujur.Aku sendiri pun pernah bertemu dgn yg demikian.Tapi oleh kerana ada yg malas,korup dan khianat,seluruh intergriti dan 'inti-inti' yg baik pasukan polis terjejas.
Jabatan polis di syorkan buat 'overhaul'.Lima tahun sekali.Macam pilihanraya umum.Kenal pasti mana anggota atau pegawai yg berkhidmat sambil lewa.Mana yg malas, berhentikan.Tawarkan mereka kerja di kilang rokok atau bagi mereka modal berniaga kedai minum teh.Mana yang rasa tak cukup kaya dan perlu banyak duit, berhentilah jadi polis.Mohon jadi pengurus kedai loteri atau nombor ekor lagi bagus.
Kami rakyat memerlukan perkhidmatan polis yg cekap.Rakyat mahukan persekitaran kurang jenayah.Rakyat mahukan polis yang menjaga kepentingan rakyat.Rakyat mahukan negara rakyat.
Hello.Polis? Di sini ada penyamun kami baru tangkap.
Datang ye..Jangan tak datang.
Lambat sikit? Ngapa?
Aa? kunci kereta hilang?
Rabu, 27 Mei 2009
Selasa, 26 Mei 2009
Aku..Kominis.. Nak Balek Kampong.
Kominis.
Komunis.
Communist.
Tiga perkataan yg sama, di eja berlainan.Kominis, yang biasa aku sebut.Lama tak dengar.Sekarang timbul balek.Masa kecik aku di kampong dulu, biasa aku dengar datok aku bercakap tentang kominis.Sebut nya "Komeneh".Loghat Pahang barat.
Ye lah.Aku pun perasan juga isu ni.Pernah aku baca dlm satu blog.Siap komik lagi!.Macamana gambaran komik tu yg kominis sebenarnya baik.Ada semangat perjuangan.Lawan British.Oleh kerana kerajaan yg ada hari adalah lanjutan dari penjajah British,maka secara otomatik menjadi pertentangan dlm perjuangan kominis.
Ni cerita lama kawan2.Sukar generasi lepas merdeka nak faham.Kalau tanya otai otai yg pernah lalui zaman 3 bintang rata2 mereka akan kata kominis ni jahat dan kejam.
Bapak aku cerita begitu.Bapak aku punya bapak pun cerita begitu.Kominis jahat.Kejam.
Bapak aku bercerita bagaimana dia melihat kominis menyembelih orang yg mereka syak informer kerajaan .Ianya berlaku di satu kawasan berhampiran pekan Padang Tengku.
Yang di bunuh itu pun berbangsa cina.Kominis tak peduli.Siapa enggan berkerjasama.Bunuh.
Dengar cerita dari bekas kominis tentulah akan kata ceritanya begini.Bukan begitu.
Ada juga satu tragedi pembunuhan berlaku berhampiran kampong mak aku.Kg Gua.Tempat tu namanya kampong Belukar.Yang terbunuh adalah waris saudara sebelah mak aku.Bekas anggota polis.Yang membunuh orang kampong juga.Di syaki pernah jadi kominis dulunya.Balek ke kampong berlakon jadi gila.Bersepai kepala saudara pada mak aku.Kena peluru penabor senapang patah miliknya sendiri .Senapang terlepas ke tangan bekas kominis yg di katakan gila.
Itu lah cerita2 kominis yg aku tahu.Selainnya tentulah cerita2 tentera yg terbunuh ketika bertempur dgn kominis.Mereka yg terkorban, tentulah anak2 yg di sayangi olih ibubapa mereka.Bapa2 yg di sayangi oleh anak2 mereka.Suami yg di kasihi oleh isteri mereka.Mereka terkorban mempertahankan negara dari kominis.Kominis pun ramai yg mati.Kominis mati memperjuangkan ideolgi.Tak berjaya.Mengikut sejarah yang ada.Bintang tiga memerintah hanya tiga hari.Bila kalah, 'comrade' biasa menyusup ke kampong.Jadi rakyat biasa.Yang lari ke negara besar komunis China ,top commanders lah.
Memang ada generasi baru hari ni yg anti kerjaan mula berjinak dan ingin memahami falsafah ideologi komunis.Paling tidak pun, mereka bersimpati dgn perjuangan kominis dulu.Ketua2 kominis macam Chin Peng,Rashid Maidin jadi hero.Ada yg print ke t shirt . Mereka pakai dgn megah.Sejarah negara yang ada tak boleh pakai.Semua dah di putarbelit oleh agen penjajah.
Aku baca blog mereka.Aku tak mahu kata itu salah atau apa.Mereka orang2 yg berpelajaran.Mereka ada otak.Mereka mampu berfikir sendiri.Maklum orang hari ni.Semua pandai2 dan bijak2 belaka.
Ketua2 kominis.
Musa Ahmad seorang melayu yg lari dari Tanah Melayu ke negara komunis China.Sesudah hari tua, akhirnya mahu pulang juga ke kampong halaman.Shamsiah Fakeh pun begitu.
Rashid Maidin pula cuma lari ke Thailand.Dekat dgn tanah kampong halaman.Ada kesempatan dia boleh menyeludup masok untok bertemu dgn sanak saudara dia.Siapa tahu?.
Kini Chin Peng pula,melalui pihak tertentu mohon pulang ke Malaysia.Chin Peng berketurunan Cina.Tapi Chin Peng mahu juga pulang ke sini.Tak mahu dia bersemadi di tanah datuk moyang dia.Patriotik juga Chin Peng.
Teringat aku satu lagu lama yg patriotik dan mendayu dayu berjudul,
" Malaysia Tanahair Ku"
Mungkin Chin Peng asyek menyanyi lagu tu sekarang ni.Lepas rindu.
Budak2 hari ni yg anti kerajaan pernah dengar ke lagu ni? Kalau bagi dia orang dengar, mahu muntah mereka.Bukan sebab lagu tu tak sedap atau apa.Sebab mereka benci kerajaan dan pemimpin didalamnya.Lagu macam tu cuma proganda kata mereka.Lagu mengampu.
Walaupun mereka simpati dgn kominis tapi jiwa mereka tetap rock.Mereka dengar Meet Uncle Maidin.Sori..Meet Uncle Husin.Mereka dengar Hujan,walau hari panas terik.Mereka dengar Rage Against The Machine.Mereka dengar muzik2 yg 'anger & hate'.Kalau yg cipta lagu,ada antara lirik yg mengambarkan apa yg mereka faham.Cuba sampaikan mesej anti penjajahan.Bagus.Mungkin boleh tambah satu lagi genre muzik baru.Kominis Rock.Tempat lain tak da.Malaysia je ada.
Aku pilih cerita kominis ni bukan sebab aku ni penyokong kerajaan atau aku anti kominis.
Juga bukan nak bercerita tentang fahaman yg di asas oleh pak cik Mao.Sarat bebenor cerita tu semua.Tak larat aku.Cerita aku sebenarnya ringkas aje.
Cerita nya berkaitan kita sebagai manusia.Dari anak kecik kita jadi dewasa.Dari dewasa kita jadi tua.Bila tua kita hampir pada mati.Tentu mati.
Aku pun lebih kurang macam kepala2 kominis juga.Bila tua rindu kampong halaman.Aku mahu hari tua aku di kampong.Bila mati, aku mahu jasad aku di semadikan di kampong.Kalau dapat di sebelah kubor mak aku.Damai nya aku rasa.Tapi ajal mati ketentuan Tuhan.Aku berserah.
Aku bukan kepala kominis.Aku orang melayu yg berfikiran lama.Konservatif.Aku budak kampong yg di besarkan di kota.Aku terpaksa membesar di kota.Ada pepatah mat saleh berbunyi..
"You can take a boy out of the country but can never take the country out of a boy"
"You can take a boy out of ol' dixie but can never take ol' dixie from a boy".
Begitu lah aku.
Cuma pesan aku pada budak2 yg simpati dgn kominis.Yang nak faham 'ism' komunis,jaga2.
Zaid Hamidi dah bersuara.Kalau korang sanggup dan tahan beramah mesra cara Kem Kemunting.
Teruskan lah perjuangan kamu.
Komunis.
Communist.
Tiga perkataan yg sama, di eja berlainan.Kominis, yang biasa aku sebut.Lama tak dengar.Sekarang timbul balek.Masa kecik aku di kampong dulu, biasa aku dengar datok aku bercakap tentang kominis.Sebut nya "Komeneh".Loghat Pahang barat.
Ye lah.Aku pun perasan juga isu ni.Pernah aku baca dlm satu blog.Siap komik lagi!.Macamana gambaran komik tu yg kominis sebenarnya baik.Ada semangat perjuangan.Lawan British.Oleh kerana kerajaan yg ada hari adalah lanjutan dari penjajah British,maka secara otomatik menjadi pertentangan dlm perjuangan kominis.
Ni cerita lama kawan2.Sukar generasi lepas merdeka nak faham.Kalau tanya otai otai yg pernah lalui zaman 3 bintang rata2 mereka akan kata kominis ni jahat dan kejam.
Bapak aku cerita begitu.Bapak aku punya bapak pun cerita begitu.Kominis jahat.Kejam.
Bapak aku bercerita bagaimana dia melihat kominis menyembelih orang yg mereka syak informer kerajaan .Ianya berlaku di satu kawasan berhampiran pekan Padang Tengku.
Yang di bunuh itu pun berbangsa cina.Kominis tak peduli.Siapa enggan berkerjasama.Bunuh.
Dengar cerita dari bekas kominis tentulah akan kata ceritanya begini.Bukan begitu.
Ada juga satu tragedi pembunuhan berlaku berhampiran kampong mak aku.Kg Gua.Tempat tu namanya kampong Belukar.Yang terbunuh adalah waris saudara sebelah mak aku.Bekas anggota polis.Yang membunuh orang kampong juga.Di syaki pernah jadi kominis dulunya.Balek ke kampong berlakon jadi gila.Bersepai kepala saudara pada mak aku.Kena peluru penabor senapang patah miliknya sendiri .Senapang terlepas ke tangan bekas kominis yg di katakan gila.
Itu lah cerita2 kominis yg aku tahu.Selainnya tentulah cerita2 tentera yg terbunuh ketika bertempur dgn kominis.Mereka yg terkorban, tentulah anak2 yg di sayangi olih ibubapa mereka.Bapa2 yg di sayangi oleh anak2 mereka.Suami yg di kasihi oleh isteri mereka.Mereka terkorban mempertahankan negara dari kominis.Kominis pun ramai yg mati.Kominis mati memperjuangkan ideolgi.Tak berjaya.Mengikut sejarah yang ada.Bintang tiga memerintah hanya tiga hari.Bila kalah, 'comrade' biasa menyusup ke kampong.Jadi rakyat biasa.Yang lari ke negara besar komunis China ,top commanders lah.
Memang ada generasi baru hari ni yg anti kerjaan mula berjinak dan ingin memahami falsafah ideologi komunis.Paling tidak pun, mereka bersimpati dgn perjuangan kominis dulu.Ketua2 kominis macam Chin Peng,Rashid Maidin jadi hero.Ada yg print ke t shirt . Mereka pakai dgn megah.Sejarah negara yang ada tak boleh pakai.Semua dah di putarbelit oleh agen penjajah.
Aku baca blog mereka.Aku tak mahu kata itu salah atau apa.Mereka orang2 yg berpelajaran.Mereka ada otak.Mereka mampu berfikir sendiri.Maklum orang hari ni.Semua pandai2 dan bijak2 belaka.
Ketua2 kominis.
Musa Ahmad seorang melayu yg lari dari Tanah Melayu ke negara komunis China.Sesudah hari tua, akhirnya mahu pulang juga ke kampong halaman.Shamsiah Fakeh pun begitu.
Rashid Maidin pula cuma lari ke Thailand.Dekat dgn tanah kampong halaman.Ada kesempatan dia boleh menyeludup masok untok bertemu dgn sanak saudara dia.Siapa tahu?.
Kini Chin Peng pula,melalui pihak tertentu mohon pulang ke Malaysia.Chin Peng berketurunan Cina.Tapi Chin Peng mahu juga pulang ke sini.Tak mahu dia bersemadi di tanah datuk moyang dia.Patriotik juga Chin Peng.
Teringat aku satu lagu lama yg patriotik dan mendayu dayu berjudul,
" Malaysia Tanahair Ku"
Mungkin Chin Peng asyek menyanyi lagu tu sekarang ni.Lepas rindu.
Budak2 hari ni yg anti kerajaan pernah dengar ke lagu ni? Kalau bagi dia orang dengar, mahu muntah mereka.Bukan sebab lagu tu tak sedap atau apa.Sebab mereka benci kerajaan dan pemimpin didalamnya.Lagu macam tu cuma proganda kata mereka.Lagu mengampu.
Walaupun mereka simpati dgn kominis tapi jiwa mereka tetap rock.Mereka dengar Meet Uncle Maidin.Sori..Meet Uncle Husin.Mereka dengar Hujan,walau hari panas terik.Mereka dengar Rage Against The Machine.Mereka dengar muzik2 yg 'anger & hate'.Kalau yg cipta lagu,ada antara lirik yg mengambarkan apa yg mereka faham.Cuba sampaikan mesej anti penjajahan.Bagus.Mungkin boleh tambah satu lagi genre muzik baru.Kominis Rock.Tempat lain tak da.Malaysia je ada.
Aku pilih cerita kominis ni bukan sebab aku ni penyokong kerajaan atau aku anti kominis.
Juga bukan nak bercerita tentang fahaman yg di asas oleh pak cik Mao.Sarat bebenor cerita tu semua.Tak larat aku.Cerita aku sebenarnya ringkas aje.
Cerita nya berkaitan kita sebagai manusia.Dari anak kecik kita jadi dewasa.Dari dewasa kita jadi tua.Bila tua kita hampir pada mati.Tentu mati.
Aku pun lebih kurang macam kepala2 kominis juga.Bila tua rindu kampong halaman.Aku mahu hari tua aku di kampong.Bila mati, aku mahu jasad aku di semadikan di kampong.Kalau dapat di sebelah kubor mak aku.Damai nya aku rasa.Tapi ajal mati ketentuan Tuhan.Aku berserah.
Aku bukan kepala kominis.Aku orang melayu yg berfikiran lama.Konservatif.Aku budak kampong yg di besarkan di kota.Aku terpaksa membesar di kota.Ada pepatah mat saleh berbunyi..
"You can take a boy out of the country but can never take the country out of a boy"
"You can take a boy out of ol' dixie but can never take ol' dixie from a boy".
Begitu lah aku.
Cuma pesan aku pada budak2 yg simpati dgn kominis.Yang nak faham 'ism' komunis,jaga2.
Zaid Hamidi dah bersuara.Kalau korang sanggup dan tahan beramah mesra cara Kem Kemunting.
Teruskan lah perjuangan kamu.
Ahad, 24 Mei 2009
Legendary Gregg Allman Interview with Arlene Weiss
An article by Arlene Weiss.I just did cut and paste .Arlene is a friend in myspace.For friends who wish to read.
Aznan Aziz.
Friday, March 13, 2009
GREGG ALLMAN! My Interview With The Legendary Bluesman!
To celebrate in 2009...The Allman Brothers Band's...40th Anniversary making glorious music, and their current, annual, beloved, 3 week run from March 9, 2009-March 28, 2009 at New York's prestigious, Beacon Theater...I am posting...here...BELOW....my unedited, original...Interview....with the legendary....GREGG ALLMAN....himself,...which he graciously conducted with me, January, 2002....and which was PUBLISHED in edited form, in the October 2002 issue of "Vintage Guitar Magazine".
“Gregg Allman-The Legendary Blues Brother’s Dreams”
© Copyright By Arlene R. Weiss
© Copyright February 4, 2002 By Arlene R. Weiss-All Rights Reserved
© Copyright March 22, 2009 By Arlene R. Weiss-All Rights Reserved
Legend, music pioneer, and amazing blue eyed soul stylist Gregg Allman can proudly lay claim to being one of the all time great, influential, landmark artists in rock history. Some thirty years ago, at a lull in America’s artistic pride when “The British Invasion” swept her by, Allman, along with his brother, guitar majesty of the pantheon, the legendary Duane Allman, came out of the pastoral southern foothills and co-founded the now mythic, Allman Brothers Band.
Their brilliant, astonishing hodge podge gumbo of boogie woogie blues rock, took the world by storm and gave the country back a sense of musical pride…while taking their permanent place in the firmament of music theology. Carving a path and setting a cornerstone benchmark of excellence that many an artist has aspired to, Gregg Allman has become a revered icon in the annals of classic rock and blues.
The multi-talented singer, songwriter, musician, and exceptional guitarist has composed an esteemed repertoire of classic songs including, “Midnight Rider”, “Whipping Post”, “Ain’t Wastin’ Time No More”, and of course, “Dreams”. Allman is also a virtuoso player of both the acoustic guitar and the Hammond organ and is regarded as one of the most naturally gifted, powerful, and stunningly soulful vocal interpreters of the blues.
Allman is renowned for singing out his heart and soul with resolute, contemplative, often cathartic weariness and ferocity.
No stranger to a life crossed by tragic events and hardship, the pain and scars he’s accumulated in his turbulent life undeniably have informed and indeed are the very sensibility that have enriched his voice, elegiac like the call of a woeful river loon, yet sinfully rich and fat with flavor.And although it’s a customary sight for fans to see Allman, known for his vocal and keyboard prowess, to be sitting musically at ease behind his beloved Hammond organ, Allman receives an unparalleled magnitude of admiration and adoration from fans and peers alike when he approaches center stage to eloquently strum his acoustic guitar, creating lush melodies of exquisite beauty and grace. His signature, self-penned tune, “Melissa”, never ceases to bring awe inspiring hush, culminating in cheering ovations whenever audiences are treated to his rare but truly inspired turns on the guitar.
For Allman, the acoustic guitar has been an ongoing melodic, sweet romance ever since he bought his first Silvertone guitar as a child with the money he feverishly saved from working a summer paper route. Remarkably, it was Gregg who began his musical career as a lead guitarist, even introducing big brother Duane to the six string.Allman has also showcased his eclectic musical stylings through the years as a groundbreaking solo artist, starting with the release of 1973’s, “Laid Back”. The tasteful debut mix of swamp rock, gospel, blues, and R&B led to five subsequent solo releases and touring including 1987’s gold release, “I’m No Angel” which with its self titled number one radio hit, validated and established Allman as an artist of incomparable talent….be it with or without his fellow Allman Brothers Band members.In 1994 The Allman Brothers, still going strong after a quarter century, were inducted into The Rock and Roll Hall Of Fame.
Since then, Allman has continued releasing records and touring, simultaneously with The Allman Brothers Band and with various configurations of his own solo bands. He considers his most recent solo release, 1997’s “Searching For Simplicity” to include some of his finest work and he exuberantly points out that his guitar playing plays a more prominent role in his current solo band.With reflective candor and wistful fondness, the one and only legend and honorable blues brother, Gregg Allman took time from currently composing new material to regale his lifetime love affair with the acoustic guitar, the blues, and music.
Arlene R. Weiss: I understand that currently you have been doing a lot of songwriting. Can you discuss some of the current songs that you’re writing, what they’re about, and what presently inspires your composing and creating process?
Gregg Allman: I haven’t been doing a lot of writing. I guess I have compared to a long period of writer’s block for awhile, trying to get my life together, stay free of the substance abuse and what have you. But it takes awhile for all of it to come back. It’s like “Dreams”. It takes you awhile to start dreaming again. We won’t go deeply into that…but now it’s starting to come back to me. I’ve written two or three new things for The Allman Brothers’ new record that I’ve written with Warren Haynes. As a matter of fact, the piano player from my band, Danny Louis, he’s been here at my house the last couple of days and he’s an excellent writer, piano player, and just has incredible chord structure. Co-writing, as I’m getting up in years, is easier work for me. One person sparks off the other one and if one person hits a brick wall, then the other one gets them through it.
AW: What instruments do you compose on?
GA: I wrote “Dreams” on a Hammond and it’s one of the few songs that I think I might have written on a Hammond. I might have written one other song on a Hammond, but that’s not something that I’ve always had inside my house. I started to go ahead and put one in my house, but they’re so big. They look pretty small on stage, but they’re huge when you put them in the house.
AW: Do you compose on the guitar?
GA: Yes. Composing on the guitar for me keeps everything simple. Whereas on a piano, I start searching for chords and I might lose my whole train of thought or lose the point I was trying to make. I’ve had more luck with the guitar because you hit certain major chords or certain basic chords, and while doing that, I usually wind up with a really nice melody….and the melody carries it. You wind up with a good melody because you have a simple chord pattern and you have to put a good melody over it.
AW: Are you currently working on new albums with both The Allman Brothers Band and your solo band?
GA: The songs usually find what slots, what bands they go into. But I’ve got a new band. It’s a nine piece band with horns. Writing for a horn band is somewhat different.
AW: Because you orchestrate it different.
GA: Exactly. We’re just writing songs, wherever they find their way. We’ve been doing pretty good. We had some real good luck last night.
AW: Let’s go back to your beginnings as a musician. What originally sparked your interest in playing the guitar and how old were you when you first began playing the guitar?
GA: I was ten years old when I first saw one. I was visiting my grandmother in the housing projects in Nashville and there was a guy who lived across the street who was mentally challenged. One day he was outside painting his car with a paintbrush (laughing), I mean every part of his car, the chrome, everything! Anyway, he was a really nice guy and I’ll never forget him. He had this old Belltone guitar sitting up on the porch by the swing. I went up there and I asked him, “What’s that?” and he said, “That’s my guitar”. I asked him if I could pick it up and hold it and he said sure. It was an old Sears Roebuck guitar. So I asked him to play it for me and he got down and played, “She’ll Be Comin’ Round The Mountain” and I thought, “If this guy can do this, I possibly can do it myself!” So I really got entranced with the damn thing, came immediately home, got a paper route, and the rest of that summer, made enough money to buy myself a $21.95 Silvertone, Sears Roebuck guitar….without the case. It was an archtop. A friend of my mother’s made a planter out of the damn thing! Painted it black, put some gold strings on it, carved two holes in it and put a little cactus in each one. I don’t know where it is but it might be hanging on her wall!
AW: What was the very first band you were in?
GA: It was called The House Rockers And The Un-Tils-with a hyphen. It was a rhythm section and three black cats that stood in front of the band and sang. The Un-tils were Tootie, Floyd, and Elmo. Floyd Miles is now in my band.
AW: I heard that somewhere along the way, you started playing the guitar first and actually inspired Duane to play the guitar.
GA: Well I don’t know if I inspired him to do it. My guitar was there and he said, “What’s that?” I’m the one that brought a guitar home and I showed him the basic math to it. He was just a natural, really was.
AW: Since you started out as a guitar player, how and what made you expand musically into the Hammond organ, keyboards, and of course, your lead vocals, making and concentrating on them as your lead focuses as a musician?
GA: It’s just something that happened. It was on account of a need to be basis because I was a lead guitar player when we began. At that time, my brother played chords and sang. That kind of turned around. My brother went with another band. They traded guitar players. This other guy came into our band and he could just smoke me, so either I learned to play rhythm guitar and sing, or I hit the bricks! (laughing) So I started singing and I was playing rhythm guitar. Keyboards also came as a need to be basis. I didn’t get a Hammond until I joined The Allman Brothers when I was oh, twenty, twenty two years old.
AW: You’ve been acclaimed as one of the most naturally gifted and soulful of blues singers. What do you think has informed your vocals to be so inherently inflected with such purposeful and powerful emotion, interpretation, and phrasing?
GA: Well they say you don’t have to have the blues to sing the blues, but it helps if you know what they are….if you had them before. And I have gone through one whole lot….two, three lifetimes of fun and maybe one and a half of struggle and pain, or at least my share, let’s put it that way. I’ve been through my share of trouble and woe. I’m not unfamiliar to it, that’s for sure.
AW: “Melissa” is one of the most enduring and eloquent songs in the Allman Brothers song repertoire. When you perform it live, it seems to get one of the most overwhelming and emotional responses from the audience, especially when you come out from behind your Hammond to center stage to perform it on the acoustic guitar. What’s your overall feeling regarding this incredible emotional response and the popularity of the song with your fans?
GA: It was one of the first songs that I ever wrote, kept, and didn’t wind up throwing in the garbage. As a matter of fact, I didn’t show it to anybody for a couple of years after I wrote it. It wasn’t recorded until after my brother passed away. But I think the response is incredible, especially when I hear people singing along with it.
AW: What inspired you to write “Melissa” and explain your melody, chord structure, and playing technique for the acoustic guitar on the song?
GA: In 1967 I was trying to get to the end of the damn thing! (laughing) I wasn’t paying attention to how musically correct all the chords were or how sympathetic they were to each other. At that particular time in my life, I started that chord pattern….and was very lonely. There is no technique. It’s like asking me where my thoughts come from. There’s many ways to write songs. There’s different places to start. The only way I can tell you is from my end of it. I get inspired by a musical phrase or a lyrical phrase to explain a situation, only in a different way. Not necessarily a clich้, not necessarily something real prophetic, but….
AW: ….something with meaning.
GA: Right. There are words like blunderbust I guess (laughing) that just aren’t the kind of words you put in songs. You find out what flows off your own tongue from experience of singing other people's songs. You don't really know, but you get a ballpark idea of what to attempt and what not to, even though I go into it every time with wanting to do something totally different and I’m sure that’s what most writers do.
AW: How did you actually evolve into songwriting and wanting to be a songwriter?
GA: Well, it was either that, or go back to med school, because I was so sick of having to do other people’s songs if I wanted to play music. I love and still have the same depth of passion for playing music as I’ve always had, if not more, and to be able to do that, I had to play all these other compositions. Don’t get me wrong. There were some nice ones. We had a damn good repertoire. But I thought, hell, we got all these tools here. Why don’t we write our own songs? And when it didn’t happen in the first two to three weeks, I really got frustrated, I stepped back, toured a little bit, and I realized that it was something that I had to keep doing. It helps if you’re a real perfectionist, if you don’t just settle for anything. If anything, I’ve had to coach myself, sometimes nitpick my own songs too much. Even when I start a song. One of the hardest things in writing songs is the first line of the song. You might have the whole song written and still not have the first line or have one that you like. What I usually do, if I do have a first line that I wrote, that usually winds up being it or very close to it. I usually go back and use most of the original stuff that I wrote in the first draft.
AW: How much do you draw from your own personal life experiences and your emotions when you’re composing?
GA: Everything,.….because everything that touches you affects what you write. It’s not like I’m sitting down and writing for somebody else, or a children’s record or a Christmas record. I’ve never even thought of doing that.
AW: What was the impetus for writing the very inspirational “Dreams”?
GA: The Hour Glass had broken up. The members all went back east and the record label let them out of their contract, but not me. That was back in the days of cross-collatorization. They could take your writer’s rights. After the record label first signed you, they would give you say, two hundred grand and to get their money back, they could take your publishing rights. Thankfully, it is no more. But they could take your royalties, artists lost mountains of money and some of the artists were the people that needed it most too.
AW: Especially the blues artists.
GA: And most of them that needed it are dying or deceased.
AW: Like John Lee Hooker.
GA: Oh yes. He was a personal friend of mine for years. He used to call me on my Birthday and tell me he loved me. Anyway, the Hour Glass members went on back east and “Dreams” was just about what it says. I didn’t think about it at the time, that it was autobiographical, but it pretty much was. It’s where I was in my life at that time. I didn’t know what to do, except I had this urge, this passion, and now I was getting this inspiration on top of it. And so I wasn’t really at a total loss, but I was really lonely. I didn’t have anybody to do all that with….until I met my current wife, she’s very inspiring.
AW: What was the impetus for writing “Midnight Rider” not just for The Allman Brothers Band, but later on reworking it, rearranging it, and re-recording it in a completely different way for your solo band on "Laid Back"?
GA: You got it backwards. It was originally written in the arrangement recorded for my solo band. I showed it to all the Brothers and so they cut it that way on “Idlewild South”. Then the next year, 1973, when I cut “Laid Back”, that’s when I did it the original way. I finally got to do it the real swamp style that I originally heard in my head….which is identical to the record. It happened that way on two or three songs. That song came about two different ways and I like both of them.
AW: How did The Gregg Allman Washburn Signature Melissa®© model acoustic guitar come about?
GA: Washburn approached me to do that guitar. I had a little bit to do with shaping that guitar out. Also, now I’m using LR Bags which is the absolute best pickup. That’s my only pickup. My Taylor was my first introduction to it. I have this old gut string guitar that a friend of mine gave me that used to belong to Joe Passe. It’s real old, made in Spain, and I’m going to try to put one of these LR Bags pickups in it.
AW: What guitars do you use live and in the studio?
GA: I use and have used for many years, my favorite Gibson J200 as my main guitar. Then I have a Taylor. I haven’t tuned it so I use two of them. I have an old one and a new one. These new ones, now they’re putting in these LR Bags. It’s an incredible pickup. Each string has its own separate pickup. You can balance it how you want it. It has the greatest EQ. I’m not paid by them or anything. I bought this guitar for about $4400. It’s the finest acoustic guitar that I own.
AW: Can you detail/outline your rig and equipment that you use for your guitars?
GA: I use D’Addario strings. I use medium to medium light. I use a Crate acoustic amp for my acoustic guitar. I put it on something like a barstool for a platform that brings it up about level to my waist and it tilts back a little bit. It’s a very nice, splendid amp. It doesn’t have any feedback at all.
AW: As a guitarist, a songwriter, and an overall musician, what are the similarities, the differences, the challenges, and your creative goals that you are striving to achieve in creating two uniquely personal artistic statements….one as a founding member of The Allman Brothers band, and one as a solo artist with your own band?
GA: The differences with the two bands is one of them you have one head chef and the other one you get to toss everything around. It seems like it’s easier on one side, like with my solo band. It’s also getting a lot easier now that we pulled the bad tooth so to speak in The Allman Brothers. The vibe is getting beautiful, really good again, like it used to be, like it’s supposed to be. I think that you’re going to be hearing some really good stuff out of The Brothers. I was all ready to walk. I had thirty years of it and that’s enough for me. Then I realized all I had to do was pull the bad tooth. I realized shortly after that, that I have a lot more fish to fry, a lot more things to do with The Allman Brothers. So yes, I do have goals. But at the same time, I don’t play live as much. As you get older….the road….hell in 1970 we worked 306 nights.
AW: No time for a personal life or to rest.
GA: Hell no! (laughing) I always get that same basic, lame question. “How did you all make it? Where did you get your break?” Break, hell!
AW: There’s no such thing. It’s called hard dues.
GA: We got around and played everywhere. If they paid us money fine. If they didn’t fine. We made enough money to live on and we played, and we played, and we played.
AW: Slide guitar players and the music of the great blues artists such as Elmore James, Muddy Waters, and Sonny Boy Williamson have always played particularly significant roles in the music of The Allman Brothers Band. Can you elaborate on their implementation in the band’s music?
GA: It’s kind of a father to son thing. When I came into the band, my background was mostly rhythm and blues, Jaimoe was from jazz, my brother was pretty much hard core blues. He got into it real deep since he started playing slide. He got in deep into the country blues, Texas blues, Chicago blues which is like Muddy Waters what have you. We put all these things together and I wouldn’t call that Southern Rock, but I would call it a progressive blues band. We leaned heavier towards the blues because the blues has a good, deep groove in it and it gets to your soul.
AW: Who are your influences?
GA: Everybody I hear. But mostly old rhythm and blues guys. My favorite singer is probably Little Milton Campbell. At the same time I love listening to Miles Davis, Lee Morgan, Stanley Turrentine, jazz artists like that, but I also like listening to Woody Guthrie and Lightnin’ Hopkins. I really like Lightnin’ Hopkins.
AW: “I’m No Angel” was your biggest commercial and artistic hit as a solo artist and along with “Melissa”, it’s become your signature tune with your fans. How did you originally come by the song, why did it resonate so strongly for you, and how did that influence you to title your 1987 solo album after the song?
GA: It came in the mail, I liked it, I heard something in it, and I wanted to try it real bad. I did it with my band, and along with that, we tried eighteen other songs, and that one poked out from the rest of them.
AW: I heard that you feel that your most recent solo album, 1997’s “Seaching For Simplicity”, in your opinion represents for you, some of your finest work. Can you elaborate on that?
GA: Recording wise, I’ve evolved a lot between “Searching For Simplicity” and my last record, “Just Before The Bullets Fly” from around 1987. There were ten whole years in there. It was a long time coming. I’m itching to get back in the studio now, especially with my new band. I really look forward to it.
AW: As an artist, encompassing your many creative roles, songwriter, guitarist, vocalist, keyboardist, in both The Allman Brothers Band, and your solo band, which or what element of these artistic roles is the most creatively satisfying for you?
GA: Rehearsal! That’s when everything gels. When you learn a new song, it gels, it gets orgasmic! (laughing)
AW: You’ve included many talented guitar players in the many lineups of The Allman Brothers Band and your different solo bands. Let’s discuss what you feel some of these guitarists bring creatively into the band. What about Derek Trucks?
GA: He brings some young blood and he’s a good slide player. My brother was pretty much his inspiration. He’s still a bit young but he’s good. The good thing about Derek is he’s young, he’s flexible, he’s got a real open mind. The same way with Oteil Burbridge. Both of them. They’re young, they’ve got a lot of energy, and to tell you the truth, they every now and then, give us old guys a well needed professional, proverbial kick in the butt!
AW: What about Warren Haynes?
GA: Warren’s my baby. He’s become one of the major blues players around. I’m talking about with The Allman Brothers Band of which he is, yes, a full fledged member….and of course the things he did with Government Mule. He’s done some beautiful work and we should be doing some more together.
AW: Are you considering doing more guitar playing with the band, because you’re a wonderful acoustic guitar player?
GA: If you’ve seen my band lately, I play a lot of guitar in my band.
AW: Do you prefer the acoustic guitar over the electric guitar and what’s your reason for the preference?
GA: Yes. I don’t even own an electric guitar. The reason is the volume and an acoustic doesn’t sound like a guitar. Don’t get me wrong. There’s definitely a place for lead guitars! God knows, I’ve been around enough of them. But you just can’t beat the sweet sound of an acoustic guitar, and that’s only an opinion.
AW: Exactly, like with “Melissa”. It has such an eloquent sound to it. It has its own voice so to speak.
GA: It just wouldn’t sound right with an electric!
© Copyright By Arlene R. Weiss
© Copyright February 4, 2002 By Arlene R. Weiss-All Rights Reserved
© Copyright March 22, 2009 By Arlene R. Weiss-All Rights Reserved
Aznan Aziz.
Friday, March 13, 2009
GREGG ALLMAN! My Interview With The Legendary Bluesman!
To celebrate in 2009...The Allman Brothers Band's...40th Anniversary making glorious music, and their current, annual, beloved, 3 week run from March 9, 2009-March 28, 2009 at New York's prestigious, Beacon Theater...I am posting...here...BELOW....my unedited, original...Interview....with the legendary....GREGG ALLMAN....himself,...which he graciously conducted with me, January, 2002....and which was PUBLISHED in edited form, in the October 2002 issue of "Vintage Guitar Magazine".
“Gregg Allman-The Legendary Blues Brother’s Dreams”
© Copyright By Arlene R. Weiss
© Copyright February 4, 2002 By Arlene R. Weiss-All Rights Reserved
© Copyright March 22, 2009 By Arlene R. Weiss-All Rights Reserved
Legend, music pioneer, and amazing blue eyed soul stylist Gregg Allman can proudly lay claim to being one of the all time great, influential, landmark artists in rock history. Some thirty years ago, at a lull in America’s artistic pride when “The British Invasion” swept her by, Allman, along with his brother, guitar majesty of the pantheon, the legendary Duane Allman, came out of the pastoral southern foothills and co-founded the now mythic, Allman Brothers Band.
Their brilliant, astonishing hodge podge gumbo of boogie woogie blues rock, took the world by storm and gave the country back a sense of musical pride…while taking their permanent place in the firmament of music theology. Carving a path and setting a cornerstone benchmark of excellence that many an artist has aspired to, Gregg Allman has become a revered icon in the annals of classic rock and blues.
The multi-talented singer, songwriter, musician, and exceptional guitarist has composed an esteemed repertoire of classic songs including, “Midnight Rider”, “Whipping Post”, “Ain’t Wastin’ Time No More”, and of course, “Dreams”. Allman is also a virtuoso player of both the acoustic guitar and the Hammond organ and is regarded as one of the most naturally gifted, powerful, and stunningly soulful vocal interpreters of the blues.
Allman is renowned for singing out his heart and soul with resolute, contemplative, often cathartic weariness and ferocity.
No stranger to a life crossed by tragic events and hardship, the pain and scars he’s accumulated in his turbulent life undeniably have informed and indeed are the very sensibility that have enriched his voice, elegiac like the call of a woeful river loon, yet sinfully rich and fat with flavor.And although it’s a customary sight for fans to see Allman, known for his vocal and keyboard prowess, to be sitting musically at ease behind his beloved Hammond organ, Allman receives an unparalleled magnitude of admiration and adoration from fans and peers alike when he approaches center stage to eloquently strum his acoustic guitar, creating lush melodies of exquisite beauty and grace. His signature, self-penned tune, “Melissa”, never ceases to bring awe inspiring hush, culminating in cheering ovations whenever audiences are treated to his rare but truly inspired turns on the guitar.
For Allman, the acoustic guitar has been an ongoing melodic, sweet romance ever since he bought his first Silvertone guitar as a child with the money he feverishly saved from working a summer paper route. Remarkably, it was Gregg who began his musical career as a lead guitarist, even introducing big brother Duane to the six string.Allman has also showcased his eclectic musical stylings through the years as a groundbreaking solo artist, starting with the release of 1973’s, “Laid Back”. The tasteful debut mix of swamp rock, gospel, blues, and R&B led to five subsequent solo releases and touring including 1987’s gold release, “I’m No Angel” which with its self titled number one radio hit, validated and established Allman as an artist of incomparable talent….be it with or without his fellow Allman Brothers Band members.In 1994 The Allman Brothers, still going strong after a quarter century, were inducted into The Rock and Roll Hall Of Fame.
Since then, Allman has continued releasing records and touring, simultaneously with The Allman Brothers Band and with various configurations of his own solo bands. He considers his most recent solo release, 1997’s “Searching For Simplicity” to include some of his finest work and he exuberantly points out that his guitar playing plays a more prominent role in his current solo band.With reflective candor and wistful fondness, the one and only legend and honorable blues brother, Gregg Allman took time from currently composing new material to regale his lifetime love affair with the acoustic guitar, the blues, and music.
Arlene R. Weiss: I understand that currently you have been doing a lot of songwriting. Can you discuss some of the current songs that you’re writing, what they’re about, and what presently inspires your composing and creating process?
Gregg Allman: I haven’t been doing a lot of writing. I guess I have compared to a long period of writer’s block for awhile, trying to get my life together, stay free of the substance abuse and what have you. But it takes awhile for all of it to come back. It’s like “Dreams”. It takes you awhile to start dreaming again. We won’t go deeply into that…but now it’s starting to come back to me. I’ve written two or three new things for The Allman Brothers’ new record that I’ve written with Warren Haynes. As a matter of fact, the piano player from my band, Danny Louis, he’s been here at my house the last couple of days and he’s an excellent writer, piano player, and just has incredible chord structure. Co-writing, as I’m getting up in years, is easier work for me. One person sparks off the other one and if one person hits a brick wall, then the other one gets them through it.
AW: What instruments do you compose on?
GA: I wrote “Dreams” on a Hammond and it’s one of the few songs that I think I might have written on a Hammond. I might have written one other song on a Hammond, but that’s not something that I’ve always had inside my house. I started to go ahead and put one in my house, but they’re so big. They look pretty small on stage, but they’re huge when you put them in the house.
AW: Do you compose on the guitar?
GA: Yes. Composing on the guitar for me keeps everything simple. Whereas on a piano, I start searching for chords and I might lose my whole train of thought or lose the point I was trying to make. I’ve had more luck with the guitar because you hit certain major chords or certain basic chords, and while doing that, I usually wind up with a really nice melody….and the melody carries it. You wind up with a good melody because you have a simple chord pattern and you have to put a good melody over it.
AW: Are you currently working on new albums with both The Allman Brothers Band and your solo band?
GA: The songs usually find what slots, what bands they go into. But I’ve got a new band. It’s a nine piece band with horns. Writing for a horn band is somewhat different.
AW: Because you orchestrate it different.
GA: Exactly. We’re just writing songs, wherever they find their way. We’ve been doing pretty good. We had some real good luck last night.
AW: Let’s go back to your beginnings as a musician. What originally sparked your interest in playing the guitar and how old were you when you first began playing the guitar?
GA: I was ten years old when I first saw one. I was visiting my grandmother in the housing projects in Nashville and there was a guy who lived across the street who was mentally challenged. One day he was outside painting his car with a paintbrush (laughing), I mean every part of his car, the chrome, everything! Anyway, he was a really nice guy and I’ll never forget him. He had this old Belltone guitar sitting up on the porch by the swing. I went up there and I asked him, “What’s that?” and he said, “That’s my guitar”. I asked him if I could pick it up and hold it and he said sure. It was an old Sears Roebuck guitar. So I asked him to play it for me and he got down and played, “She’ll Be Comin’ Round The Mountain” and I thought, “If this guy can do this, I possibly can do it myself!” So I really got entranced with the damn thing, came immediately home, got a paper route, and the rest of that summer, made enough money to buy myself a $21.95 Silvertone, Sears Roebuck guitar….without the case. It was an archtop. A friend of my mother’s made a planter out of the damn thing! Painted it black, put some gold strings on it, carved two holes in it and put a little cactus in each one. I don’t know where it is but it might be hanging on her wall!
AW: What was the very first band you were in?
GA: It was called The House Rockers And The Un-Tils-with a hyphen. It was a rhythm section and three black cats that stood in front of the band and sang. The Un-tils were Tootie, Floyd, and Elmo. Floyd Miles is now in my band.
AW: I heard that somewhere along the way, you started playing the guitar first and actually inspired Duane to play the guitar.
GA: Well I don’t know if I inspired him to do it. My guitar was there and he said, “What’s that?” I’m the one that brought a guitar home and I showed him the basic math to it. He was just a natural, really was.
AW: Since you started out as a guitar player, how and what made you expand musically into the Hammond organ, keyboards, and of course, your lead vocals, making and concentrating on them as your lead focuses as a musician?
GA: It’s just something that happened. It was on account of a need to be basis because I was a lead guitar player when we began. At that time, my brother played chords and sang. That kind of turned around. My brother went with another band. They traded guitar players. This other guy came into our band and he could just smoke me, so either I learned to play rhythm guitar and sing, or I hit the bricks! (laughing) So I started singing and I was playing rhythm guitar. Keyboards also came as a need to be basis. I didn’t get a Hammond until I joined The Allman Brothers when I was oh, twenty, twenty two years old.
AW: You’ve been acclaimed as one of the most naturally gifted and soulful of blues singers. What do you think has informed your vocals to be so inherently inflected with such purposeful and powerful emotion, interpretation, and phrasing?
GA: Well they say you don’t have to have the blues to sing the blues, but it helps if you know what they are….if you had them before. And I have gone through one whole lot….two, three lifetimes of fun and maybe one and a half of struggle and pain, or at least my share, let’s put it that way. I’ve been through my share of trouble and woe. I’m not unfamiliar to it, that’s for sure.
AW: “Melissa” is one of the most enduring and eloquent songs in the Allman Brothers song repertoire. When you perform it live, it seems to get one of the most overwhelming and emotional responses from the audience, especially when you come out from behind your Hammond to center stage to perform it on the acoustic guitar. What’s your overall feeling regarding this incredible emotional response and the popularity of the song with your fans?
GA: It was one of the first songs that I ever wrote, kept, and didn’t wind up throwing in the garbage. As a matter of fact, I didn’t show it to anybody for a couple of years after I wrote it. It wasn’t recorded until after my brother passed away. But I think the response is incredible, especially when I hear people singing along with it.
AW: What inspired you to write “Melissa” and explain your melody, chord structure, and playing technique for the acoustic guitar on the song?
GA: In 1967 I was trying to get to the end of the damn thing! (laughing) I wasn’t paying attention to how musically correct all the chords were or how sympathetic they were to each other. At that particular time in my life, I started that chord pattern….and was very lonely. There is no technique. It’s like asking me where my thoughts come from. There’s many ways to write songs. There’s different places to start. The only way I can tell you is from my end of it. I get inspired by a musical phrase or a lyrical phrase to explain a situation, only in a different way. Not necessarily a clich้, not necessarily something real prophetic, but….
AW: ….something with meaning.
GA: Right. There are words like blunderbust I guess (laughing) that just aren’t the kind of words you put in songs. You find out what flows off your own tongue from experience of singing other people's songs. You don't really know, but you get a ballpark idea of what to attempt and what not to, even though I go into it every time with wanting to do something totally different and I’m sure that’s what most writers do.
AW: How did you actually evolve into songwriting and wanting to be a songwriter?
GA: Well, it was either that, or go back to med school, because I was so sick of having to do other people’s songs if I wanted to play music. I love and still have the same depth of passion for playing music as I’ve always had, if not more, and to be able to do that, I had to play all these other compositions. Don’t get me wrong. There were some nice ones. We had a damn good repertoire. But I thought, hell, we got all these tools here. Why don’t we write our own songs? And when it didn’t happen in the first two to three weeks, I really got frustrated, I stepped back, toured a little bit, and I realized that it was something that I had to keep doing. It helps if you’re a real perfectionist, if you don’t just settle for anything. If anything, I’ve had to coach myself, sometimes nitpick my own songs too much. Even when I start a song. One of the hardest things in writing songs is the first line of the song. You might have the whole song written and still not have the first line or have one that you like. What I usually do, if I do have a first line that I wrote, that usually winds up being it or very close to it. I usually go back and use most of the original stuff that I wrote in the first draft.
AW: How much do you draw from your own personal life experiences and your emotions when you’re composing?
GA: Everything,.….because everything that touches you affects what you write. It’s not like I’m sitting down and writing for somebody else, or a children’s record or a Christmas record. I’ve never even thought of doing that.
AW: What was the impetus for writing the very inspirational “Dreams”?
GA: The Hour Glass had broken up. The members all went back east and the record label let them out of their contract, but not me. That was back in the days of cross-collatorization. They could take your writer’s rights. After the record label first signed you, they would give you say, two hundred grand and to get their money back, they could take your publishing rights. Thankfully, it is no more. But they could take your royalties, artists lost mountains of money and some of the artists were the people that needed it most too.
AW: Especially the blues artists.
GA: And most of them that needed it are dying or deceased.
AW: Like John Lee Hooker.
GA: Oh yes. He was a personal friend of mine for years. He used to call me on my Birthday and tell me he loved me. Anyway, the Hour Glass members went on back east and “Dreams” was just about what it says. I didn’t think about it at the time, that it was autobiographical, but it pretty much was. It’s where I was in my life at that time. I didn’t know what to do, except I had this urge, this passion, and now I was getting this inspiration on top of it. And so I wasn’t really at a total loss, but I was really lonely. I didn’t have anybody to do all that with….until I met my current wife, she’s very inspiring.
AW: What was the impetus for writing “Midnight Rider” not just for The Allman Brothers Band, but later on reworking it, rearranging it, and re-recording it in a completely different way for your solo band on "Laid Back"?
GA: You got it backwards. It was originally written in the arrangement recorded for my solo band. I showed it to all the Brothers and so they cut it that way on “Idlewild South”. Then the next year, 1973, when I cut “Laid Back”, that’s when I did it the original way. I finally got to do it the real swamp style that I originally heard in my head….which is identical to the record. It happened that way on two or three songs. That song came about two different ways and I like both of them.
AW: How did The Gregg Allman Washburn Signature Melissa®© model acoustic guitar come about?
GA: Washburn approached me to do that guitar. I had a little bit to do with shaping that guitar out. Also, now I’m using LR Bags which is the absolute best pickup. That’s my only pickup. My Taylor was my first introduction to it. I have this old gut string guitar that a friend of mine gave me that used to belong to Joe Passe. It’s real old, made in Spain, and I’m going to try to put one of these LR Bags pickups in it.
AW: What guitars do you use live and in the studio?
GA: I use and have used for many years, my favorite Gibson J200 as my main guitar. Then I have a Taylor. I haven’t tuned it so I use two of them. I have an old one and a new one. These new ones, now they’re putting in these LR Bags. It’s an incredible pickup. Each string has its own separate pickup. You can balance it how you want it. It has the greatest EQ. I’m not paid by them or anything. I bought this guitar for about $4400. It’s the finest acoustic guitar that I own.
AW: Can you detail/outline your rig and equipment that you use for your guitars?
GA: I use D’Addario strings. I use medium to medium light. I use a Crate acoustic amp for my acoustic guitar. I put it on something like a barstool for a platform that brings it up about level to my waist and it tilts back a little bit. It’s a very nice, splendid amp. It doesn’t have any feedback at all.
AW: As a guitarist, a songwriter, and an overall musician, what are the similarities, the differences, the challenges, and your creative goals that you are striving to achieve in creating two uniquely personal artistic statements….one as a founding member of The Allman Brothers band, and one as a solo artist with your own band?
GA: The differences with the two bands is one of them you have one head chef and the other one you get to toss everything around. It seems like it’s easier on one side, like with my solo band. It’s also getting a lot easier now that we pulled the bad tooth so to speak in The Allman Brothers. The vibe is getting beautiful, really good again, like it used to be, like it’s supposed to be. I think that you’re going to be hearing some really good stuff out of The Brothers. I was all ready to walk. I had thirty years of it and that’s enough for me. Then I realized all I had to do was pull the bad tooth. I realized shortly after that, that I have a lot more fish to fry, a lot more things to do with The Allman Brothers. So yes, I do have goals. But at the same time, I don’t play live as much. As you get older….the road….hell in 1970 we worked 306 nights.
AW: No time for a personal life or to rest.
GA: Hell no! (laughing) I always get that same basic, lame question. “How did you all make it? Where did you get your break?” Break, hell!
AW: There’s no such thing. It’s called hard dues.
GA: We got around and played everywhere. If they paid us money fine. If they didn’t fine. We made enough money to live on and we played, and we played, and we played.
AW: Slide guitar players and the music of the great blues artists such as Elmore James, Muddy Waters, and Sonny Boy Williamson have always played particularly significant roles in the music of The Allman Brothers Band. Can you elaborate on their implementation in the band’s music?
GA: It’s kind of a father to son thing. When I came into the band, my background was mostly rhythm and blues, Jaimoe was from jazz, my brother was pretty much hard core blues. He got into it real deep since he started playing slide. He got in deep into the country blues, Texas blues, Chicago blues which is like Muddy Waters what have you. We put all these things together and I wouldn’t call that Southern Rock, but I would call it a progressive blues band. We leaned heavier towards the blues because the blues has a good, deep groove in it and it gets to your soul.
AW: Who are your influences?
GA: Everybody I hear. But mostly old rhythm and blues guys. My favorite singer is probably Little Milton Campbell. At the same time I love listening to Miles Davis, Lee Morgan, Stanley Turrentine, jazz artists like that, but I also like listening to Woody Guthrie and Lightnin’ Hopkins. I really like Lightnin’ Hopkins.
AW: “I’m No Angel” was your biggest commercial and artistic hit as a solo artist and along with “Melissa”, it’s become your signature tune with your fans. How did you originally come by the song, why did it resonate so strongly for you, and how did that influence you to title your 1987 solo album after the song?
GA: It came in the mail, I liked it, I heard something in it, and I wanted to try it real bad. I did it with my band, and along with that, we tried eighteen other songs, and that one poked out from the rest of them.
AW: I heard that you feel that your most recent solo album, 1997’s “Seaching For Simplicity”, in your opinion represents for you, some of your finest work. Can you elaborate on that?
GA: Recording wise, I’ve evolved a lot between “Searching For Simplicity” and my last record, “Just Before The Bullets Fly” from around 1987. There were ten whole years in there. It was a long time coming. I’m itching to get back in the studio now, especially with my new band. I really look forward to it.
AW: As an artist, encompassing your many creative roles, songwriter, guitarist, vocalist, keyboardist, in both The Allman Brothers Band, and your solo band, which or what element of these artistic roles is the most creatively satisfying for you?
GA: Rehearsal! That’s when everything gels. When you learn a new song, it gels, it gets orgasmic! (laughing)
AW: You’ve included many talented guitar players in the many lineups of The Allman Brothers Band and your different solo bands. Let’s discuss what you feel some of these guitarists bring creatively into the band. What about Derek Trucks?
GA: He brings some young blood and he’s a good slide player. My brother was pretty much his inspiration. He’s still a bit young but he’s good. The good thing about Derek is he’s young, he’s flexible, he’s got a real open mind. The same way with Oteil Burbridge. Both of them. They’re young, they’ve got a lot of energy, and to tell you the truth, they every now and then, give us old guys a well needed professional, proverbial kick in the butt!
AW: What about Warren Haynes?
GA: Warren’s my baby. He’s become one of the major blues players around. I’m talking about with The Allman Brothers Band of which he is, yes, a full fledged member….and of course the things he did with Government Mule. He’s done some beautiful work and we should be doing some more together.
AW: Are you considering doing more guitar playing with the band, because you’re a wonderful acoustic guitar player?
GA: If you’ve seen my band lately, I play a lot of guitar in my band.
AW: Do you prefer the acoustic guitar over the electric guitar and what’s your reason for the preference?
GA: Yes. I don’t even own an electric guitar. The reason is the volume and an acoustic doesn’t sound like a guitar. Don’t get me wrong. There’s definitely a place for lead guitars! God knows, I’ve been around enough of them. But you just can’t beat the sweet sound of an acoustic guitar, and that’s only an opinion.
AW: Exactly, like with “Melissa”. It has such an eloquent sound to it. It has its own voice so to speak.
GA: It just wouldn’t sound right with an electric!
© Copyright By Arlene R. Weiss
© Copyright February 4, 2002 By Arlene R. Weiss-All Rights Reserved
© Copyright March 22, 2009 By Arlene R. Weiss-All Rights Reserved
Rabu, 20 Mei 2009
Seni Filem & Samseng JALANAN
Antara yang aku terdengar dlm berita awal pagi hari ni (khamis 21/5/09)ialah, kerajaan hari ini yg mengaku 'tak tahu semua'nya akan mengkaji isi jalan cerita dlm filem2 dan drama2 tempatan yg bakal di pertontonkan kepada rakyat.Kata mentri warisan seni & kebudayaan Datuk Rais Yatim,filem2 dan drama tempatan mesti bersuaian atau mencerminkan kebudayaan dan kehidupan rakyat negara ini.
Sesudah itu pula, perkataan 'mat rempit' di tukar kepada 'samseng jalanan.Dalam setiap laporan dan penyiaran, sebut samseng jalanan.Tukar sebutan aje la.Mengatasi masaalahnya lain cerita.Tukar nama senang.Masaalah macam tu juga.Kalau aku, tukar jadi Hang Rempit.Bunyi klasik sikit.Berbudaya pun ye.
Moh kita.Tinggalkan samseng jalanan tu dulu.
Seni dan kebudayaan rakyat Malaysia.Kalau nak komen mesti dengan teliti.Pengetahuan mesti luas macam lautan Pasifik.Budayawan,orang filem atau orang industri seni saja yg layak bincang soal ni.??
Busker macam aku tak boleh komen ke? Aku pun perihatin juga tentang seni dan apa yg berlaku dlm negara ni.Busker pun orang seni apa.Seniman jalanan.Jalanan pun jalanan lah.Seni juga.Walaupun ada orang yg bosan dgn busking atau busker...
He he sorry la kalau bicara ni membosankan.
Nasihat aku, jangan masok '..streetbusker.blogspot' .Banyak blog2 yg boleh memajukan diri di sana untok di ikuti.Blog macamana mau bikin uang.Macamana mau beristeri du....
Ha ha jom sambung.
Aku tonton filem dan drama melayu.Terus terang aku kata,kalau tonton 10 hanya 3 saja yg okay pada aku.Yang lagi 7 tu tak sampai setengah jalan cerita aku dah zzzzzzzzzz..Bagus untok mengatasi 'insomnia'.
Ceritanya banyak yg memaparkan kehidupan golongan koprat dan kaya2 saja.Macamana pergolakan skandal cinta mereka.Macamana jatuh menjatuh empayar bisnes mereka.Paparan hidup glamer.Kereta besar.Motor besar.Bontot besar.
Begitu ke kehidupan golongan kaya? Entah.Aku tak pernah kaya.Aku tak tau.Aku pun tak berminat tentang kekayaan.
Rasanya dah hampir 50 tahun orang kita berfilem dan berdrama.Kenapa isu lama tak habis2? Filem kita wajah kita lah.Macam2 slogan.Tambah pulak hari ni , slogan satu malaysia..semua wajah2 dlm Malaysia nak jadi satu.Amacam?
Rasanya filem2 dan drama2 ni bukan nak 'bikin filim' sangat.Nak berglamer saja lebih.Tengok saja para artis dan pelakon2 kita atau orang2 dlm industri ni.Dari yg pengarah sampai lah yg tukang sapu bedak .. bukan lah semua tapi kebanyakan.
Lagaknya macam Hollywood.Cerita di luar filem pun nak di beritahu pada orang.Beli kereta nak bagitau orang.Pindah rumah baru nak bagitau orang.Bergaduh dgn pasangan nak bagitau orang.Kalau boleh beli seluar dalam baru pun nak bagitau orang.Glamer punya hal.Satu Malaysia mesti tau.
Kita mesti pernah dengar lagu M.Nasir yg berjudul "Bikin Filim" dari 'Saudagar Mimpi'.Antara bibit liriknya begini.
"Ramai kini taik bintang (shooting star) yang muda dan cun2..
Ramai kini mak janda seksi yg di tauliahkan sebagai pelakun.."
Lagi..
"Marilah bikin filim kata mereka Telanjangkan hipokrasi kataku"
"Mereka mahu bikin filim Aku mahu filimkan hidup"
"Mereka cuma bikin filim Mereka lupa bikin kebenaran"
Lagi satu filem kita, kalau filem melayu..melayu saja dlmnya.Cina.Muka cina saja.Yang India pulak,muka india saja.Lu lu punya hal.Gua gua punya hal.Baru2 ni saja lah aku perasan ada drama2 yg ada pelbagai kaum sikit.Nak menunjukkan slogan satu Malaysia.Itu pun logiknya tak ada.Takkan keluarga cina cakap melayu sesama mereka.Sebabnya drama melayu? Jadi si cina kena cakap melayu.Biar lah betul.
Banyak sangat lah! Ni belum cerita yg asyek kena penyakit buat filem/drama seram.Tajuk cerita seram, tapi baru mula cerita dah buat aku gelak.Thrill dan suspen entah kemana.
Kalau macam "Zombi Kampong Pisang" tak pe gak.Tajuk saja dah gelak.
Kalau saluran lain tayang "Seniman Bujang Lapok" baik aku tengok yang tu.Dah tentu gelak walaupun dah beratus kali menonton.
Cut!
Masok cerita samseng jalanan plak.
Ni pun satu hal juga.Mat Rempit.Dulu dorang ni juga yg sanjung2 sangat si gila tu semua.Sampai buat filem "Rempit".Konon nak tonjol sangat kehidupan mereka yg hebat.Orang ramai tentu minat sampai pecah panggung.Memang orang melayu ni minat sangat cerita2 mcam ni.Tak cukop dgn filem buat drama bersiri lagi "Rempit vs Impak Maksima".Sama juga.Gila kereta pulak.Penuh aksi konon.Orang melayu suka.Kesudahan bila masaalah gila rempit ni dah bertambah kronik sama macam selsema babi maka orang politik pun tunjuk mereka serious.Tunjuk dlm tv buat operasi sana sini tiap2 malam.Yang aku nampak budak2 moto buat main2 je dgn tukang buat operasi.Macam main kejar2.Sampai terdudok terbaring yg si polis.Boleh selesai masaalah ke? Tak boleh beb.Habis nak buat macamana? Mmm.Fikir punya fikir,menyala lah mentol 5 watt.Tukar nama.Jangan panggil mereka Mat Rempit lagi! Panggil mereka SAMSENG JALANAN.Boleh kurangkan gejala ni ke? Kita tengok.
Setahu aku yg tak sekolah tinggi ni, samseng ni dari bahasa cina. 'Sam' makna tiga. 'Seng' pulak apa yg tak baik atau jahat.Tiu na seng!.Jadinya tiga jahat di jalanan.Macam tak kena je.Tapi lantaklah,mentri dah bagi arahan.Ikut aje lah.Mungkin dia orang ni dah 'turun padang' ikut merempit sekali.Jadi tahu lah permasaalahannya.Tukar gelaran boleh settle.
Yang tak sedapnya perkataan 'jalanan' bersebelahan 'samseng'.Busker di gelar seniman jalanan.
Jadi samseng dgn seniman, dua orang ni ada di jalanan.Yang satu baik dan handsome.Satu lagi jahat dan muka macam lanun Somalia.
Pakar bahasa dan para budayawan tak cakap apa2 ke?
Cut! Take five.
Sesudah itu pula, perkataan 'mat rempit' di tukar kepada 'samseng jalanan.Dalam setiap laporan dan penyiaran, sebut samseng jalanan.Tukar sebutan aje la.Mengatasi masaalahnya lain cerita.Tukar nama senang.Masaalah macam tu juga.Kalau aku, tukar jadi Hang Rempit.Bunyi klasik sikit.Berbudaya pun ye.
Moh kita.Tinggalkan samseng jalanan tu dulu.
Seni dan kebudayaan rakyat Malaysia.Kalau nak komen mesti dengan teliti.Pengetahuan mesti luas macam lautan Pasifik.Budayawan,orang filem atau orang industri seni saja yg layak bincang soal ni.??
Busker macam aku tak boleh komen ke? Aku pun perihatin juga tentang seni dan apa yg berlaku dlm negara ni.Busker pun orang seni apa.Seniman jalanan.Jalanan pun jalanan lah.Seni juga.Walaupun ada orang yg bosan dgn busking atau busker...
He he sorry la kalau bicara ni membosankan.
Nasihat aku, jangan masok '..streetbusker.blogspot' .Banyak blog2 yg boleh memajukan diri di sana untok di ikuti.Blog macamana mau bikin uang.Macamana mau beristeri du....
Ha ha jom sambung.
Aku tonton filem dan drama melayu.Terus terang aku kata,kalau tonton 10 hanya 3 saja yg okay pada aku.Yang lagi 7 tu tak sampai setengah jalan cerita aku dah zzzzzzzzzz..Bagus untok mengatasi 'insomnia'.
Ceritanya banyak yg memaparkan kehidupan golongan koprat dan kaya2 saja.Macamana pergolakan skandal cinta mereka.Macamana jatuh menjatuh empayar bisnes mereka.Paparan hidup glamer.Kereta besar.Motor besar.Bontot besar.
Begitu ke kehidupan golongan kaya? Entah.Aku tak pernah kaya.Aku tak tau.Aku pun tak berminat tentang kekayaan.
Rasanya dah hampir 50 tahun orang kita berfilem dan berdrama.Kenapa isu lama tak habis2? Filem kita wajah kita lah.Macam2 slogan.Tambah pulak hari ni , slogan satu malaysia..semua wajah2 dlm Malaysia nak jadi satu.Amacam?
Rasanya filem2 dan drama2 ni bukan nak 'bikin filim' sangat.Nak berglamer saja lebih.Tengok saja para artis dan pelakon2 kita atau orang2 dlm industri ni.Dari yg pengarah sampai lah yg tukang sapu bedak .. bukan lah semua tapi kebanyakan.
Lagaknya macam Hollywood.Cerita di luar filem pun nak di beritahu pada orang.Beli kereta nak bagitau orang.Pindah rumah baru nak bagitau orang.Bergaduh dgn pasangan nak bagitau orang.Kalau boleh beli seluar dalam baru pun nak bagitau orang.Glamer punya hal.Satu Malaysia mesti tau.
Kita mesti pernah dengar lagu M.Nasir yg berjudul "Bikin Filim" dari 'Saudagar Mimpi'.Antara bibit liriknya begini.
"Ramai kini taik bintang (shooting star) yang muda dan cun2..
Ramai kini mak janda seksi yg di tauliahkan sebagai pelakun.."
Lagi..
"Marilah bikin filim kata mereka Telanjangkan hipokrasi kataku"
"Mereka mahu bikin filim Aku mahu filimkan hidup"
"Mereka cuma bikin filim Mereka lupa bikin kebenaran"
Betul.Nasir Jani yg tulis lirik tu.Dia orang filem.Pengarah lagi.Dia tau lah wangi dan busuknya hal bikin filem ni.Lirik tu real.Itu luahan rasa Nasir Jani tentang apa yg tak kena nya dgn dunia filem kita.Sampai satu ketika Nasir Jani di cop sebagai rebel.
Kenapa filem2 tentang kehidupan orang biasa tak mahu di ketengahkan? Apa tak bagus ke filem atau drama yg demikian? Ada, bukan tak ada tapi yg lembut2 saja.Cerita pak tua pergi kebun ambik pisang.Letih rehat bawah pokok durian.Balik rumah, mak tua membebel.Nak sensasi sikit, buat lah anak perempuan pak tua skandal kat kota.Habis tu menyesal balik kampong.Cerita2 yg macam tu saja.Lagi satu filem kita, kalau filem melayu..melayu saja dlmnya.Cina.Muka cina saja.Yang India pulak,muka india saja.Lu lu punya hal.Gua gua punya hal.Baru2 ni saja lah aku perasan ada drama2 yg ada pelbagai kaum sikit.Nak menunjukkan slogan satu Malaysia.Itu pun logiknya tak ada.Takkan keluarga cina cakap melayu sesama mereka.Sebabnya drama melayu? Jadi si cina kena cakap melayu.Biar lah betul.
Banyak sangat lah! Ni belum cerita yg asyek kena penyakit buat filem/drama seram.Tajuk cerita seram, tapi baru mula cerita dah buat aku gelak.Thrill dan suspen entah kemana.
Kalau macam "Zombi Kampong Pisang" tak pe gak.Tajuk saja dah gelak.
Kalau saluran lain tayang "Seniman Bujang Lapok" baik aku tengok yang tu.Dah tentu gelak walaupun dah beratus kali menonton.
Cut!
Masok cerita samseng jalanan plak.
Ni pun satu hal juga.Mat Rempit.Dulu dorang ni juga yg sanjung2 sangat si gila tu semua.Sampai buat filem "Rempit".Konon nak tonjol sangat kehidupan mereka yg hebat.Orang ramai tentu minat sampai pecah panggung.Memang orang melayu ni minat sangat cerita2 mcam ni.Tak cukop dgn filem buat drama bersiri lagi "Rempit vs Impak Maksima".Sama juga.Gila kereta pulak.Penuh aksi konon.Orang melayu suka.Kesudahan bila masaalah gila rempit ni dah bertambah kronik sama macam selsema babi maka orang politik pun tunjuk mereka serious.Tunjuk dlm tv buat operasi sana sini tiap2 malam.Yang aku nampak budak2 moto buat main2 je dgn tukang buat operasi.Macam main kejar2.Sampai terdudok terbaring yg si polis.Boleh selesai masaalah ke? Tak boleh beb.Habis nak buat macamana? Mmm.Fikir punya fikir,menyala lah mentol 5 watt.Tukar nama.Jangan panggil mereka Mat Rempit lagi! Panggil mereka SAMSENG JALANAN.Boleh kurangkan gejala ni ke? Kita tengok.
Setahu aku yg tak sekolah tinggi ni, samseng ni dari bahasa cina. 'Sam' makna tiga. 'Seng' pulak apa yg tak baik atau jahat.Tiu na seng!.Jadinya tiga jahat di jalanan.Macam tak kena je.Tapi lantaklah,mentri dah bagi arahan.Ikut aje lah.Mungkin dia orang ni dah 'turun padang' ikut merempit sekali.Jadi tahu lah permasaalahannya.Tukar gelaran boleh settle.
Yang tak sedapnya perkataan 'jalanan' bersebelahan 'samseng'.Busker di gelar seniman jalanan.
Jadi samseng dgn seniman, dua orang ni ada di jalanan.Yang satu baik dan handsome.Satu lagi jahat dan muka macam lanun Somalia.
Pakar bahasa dan para budayawan tak cakap apa2 ke?
Cut! Take five.
Selasa, 19 Mei 2009
Biar begini..
Aku baca dlm Berita Harian hari rabu 20/5/2009. Berita ringkas je, perihal seorang Brian Burnie si jutawan.Brian Burnie ni dah jemu jadi jutawan.Dia pilih untok jadi miskin pula.Maka dia dermakan segala hartanya ke satu badan amal barah.Antara sebab insan ni buat macam tu adalah kerana isterinya sembuh dari penyakit barah payudara.
Apa yg menarik lagi, "Cita cita saya untok mati tanpa wang" kata Brian.
Begitu lah antara kisah manusia ni.Yang miskin nak jadi kaya.Yang dah kaya nak jadi miskin pulak.
Yang pastinya, ramai manusia yg nak jadi kaya dari nak jadi miskin papa kedana.
Yang dah kaya tu pun tak sedar diri dok terus ngumpul harta.Tak cukup kaya lagi.
Di mana tahap kekayaan? Tuhan yang Maha Kaya saja yg tahu.
Membacalah aku akan tajuk "Jom pi tengok orang busking" di laman Meor.
Kita pengamen ni (bukan pengemis ye..tolong sikit) begitu lah.Apa yg kita raih tak menentu.
Tapi rezeki kita ada di situ.Dan yg pastinya, kita takkan jadi kaya sebagai busker.
Hampir 40 tahun aktivi busking ni dah berjalan.Busker silih berganti.Ianya tetap begitu.Biarkan ia terus begitu.Tak perlu lah ada usaha beri ruang ke apa.Keadaannya sudah cukup baik.
Panas hari kita busking, datang hujan kita lari.Itu lah realiti yg mengajar kita tentang kepayahan dan kehidupan.
Ada orang mabuk.Ada orang gila.Ada orang yg buat2 gila.Ada orang buat gila2.Ada yg2 jeling.Ada yg jatuh hati.Ada buat dek.Kita terus busking.Kita enjoy sambil dapat sedikit imbuhan.
Jalanan bukan pentas.Ianya kasar.Kita buat persembahan di depan dan di kelilingi oleh bermacam aksi manusia.Silap hari bulan, kena taik gagak pun ada.Ini semua menguatkan minda sebenarnya.
Siapa berani?
Silakan!
Apa yg menarik lagi, "Cita cita saya untok mati tanpa wang" kata Brian.
Tuhan yg memiliki hati makhluk ciptaanNya.Tuhan yg memberi Brian petunjuk hidayah untok berbuat demikian.
Begitu lah antara kisah manusia ni.Yang miskin nak jadi kaya.Yang dah kaya nak jadi miskin pulak.
Yang pastinya, ramai manusia yg nak jadi kaya dari nak jadi miskin papa kedana.
Yang dah kaya tu pun tak sedar diri dok terus ngumpul harta.Tak cukup kaya lagi.
Di mana tahap kekayaan? Tuhan yang Maha Kaya saja yg tahu.
Membacalah aku akan tajuk "Jom pi tengok orang busking" di laman Meor.
Kita pengamen ni (bukan pengemis ye..tolong sikit) begitu lah.Apa yg kita raih tak menentu.
Tapi rezeki kita ada di situ.Dan yg pastinya, kita takkan jadi kaya sebagai busker.
Busking.Mengamen.
Ini ada lah program realiti yg real.Program realiti yg satu satunya tak menjanjikan hadiah wang puluhan ribu .Takde glamer.Tak ada populariti.Tapi ianya ada satu kelainan.Kelainannya ialah, kita tengok realiti kehidupan.Menguatkan semangat.Menguatkan minda dari penyakit ego.Syaratnya senang.Jiwai apa yg di buat.Tak ada syarat umor dari 18 hingga 27 tahun.Takde syarat berperawakan menarik.Siapa2 boleh buat, kalau jiwa kental.Bukan soal malu.
Penganjur program ini ialah si busker itu sendiri.Penaja? orang yg sudi menonton.Senang.Hampir 40 tahun aktivi busking ni dah berjalan.Busker silih berganti.Ianya tetap begitu.Biarkan ia terus begitu.Tak perlu lah ada usaha beri ruang ke apa.Keadaannya sudah cukup baik.
Panas hari kita busking, datang hujan kita lari.Itu lah realiti yg mengajar kita tentang kepayahan dan kehidupan.
Ada orang mabuk.Ada orang gila.Ada orang yg buat2 gila.Ada orang buat gila2.Ada yg2 jeling.Ada yg jatuh hati.Ada buat dek.Kita terus busking.Kita enjoy sambil dapat sedikit imbuhan.
Jalanan bukan pentas.Ianya kasar.Kita buat persembahan di depan dan di kelilingi oleh bermacam aksi manusia.Silap hari bulan, kena taik gagak pun ada.Ini semua menguatkan minda sebenarnya.
Siapa berani?
Silakan!
Rabu, 13 Mei 2009
Perihal Makan
Aku ada juga browse baca blog2 kekawan. Blog orang yang aku tak kenal pun ada masa aku baca.
Ada cerita pengalaman sendiri,macam aku.Ada cerita hal lain.Cerita politik.
Cerita ikan mas.Cerita kumbang terbang.Cerita jembalang.Cerita alam jabarut alam malakut.Macam2.Sampaikan yang cerita pasal burit pun ada.Siap gambar lagi.Betul!.Ada.
ASTRO yg dakwa 'macam macam ada' pun kalah.
Ada yang aku faham.Ada yg tidak.Tapi semuanya ada lah sangat menarik untok di baca.
Sekadar mengetahui yg kita manusia ni ada bermacam ragam rempahratus dlm hidupnya.
Bermacam cara meluahkan tentang apa yg di fikir.
Ye lah, nama pun blog.Suka apa lah yang punya blog nak tulis.Nak letak gambar apa pun.
Cuma nanti bila semua di bawah alam ni dah di 'gulung' dan Tuhan dengan penuh angkuh dan takbur mencabar...
"Adakah TUHAN yang lain selain AKU!?"
Hari tu, kita semua jawab lah.
Ok.
Blog aku, cerita biasa2 je.Sebab alam aku alam biasa.Alam nyata.Apa yang ada depan mata.Bukan 'Twilight Zone'.
Di alam nyata ni, antara yang selalu kita hadap ia lah makanan.
Aku nak cerita bab makan.Makan? tak de cerita lain ke?
Dah tu..asyek cerita buskiiiing.Jemu jugak.
Siapa tak suka makan,jangan baca.
Makan! Sluurp..Aku memang suka makan.Tapi tak lah boso dan lahap.Tau apa 'boso'?, gelojoh la.Tengok berok kalau kita bagi dia makanan.Di sumbatnya selagi boleh sampai kembong pipi.Boso la tu.Boso bin gejoloh.Eh, gelojoh.Teringat yang Tok Dollah aku suka guna perkataan ni.Boso.
Sejak kecik lagi aku biasa makan yg enak.Arwah wan kesom aku pakar masak.Maklum sejak muda, itu saja kerjanya.Ambil upah memasak sekitar Kampung Baru.Kemudian wan aku di ambil berkerja di Restoran Majid Satay House.Rasanya itulah restoran bertaraf antarabangsa ketika itu.Sekitar awal tahun 70an.Terletak di batu 2 jln Ipoh. Berhampiran dulunya adalah Pasar Borong Kuala Lumpur.
Majid Satay House di usahakan oleh arwah Haji Majid Satay dan anak2nya.Mereka antara orang2 kaya di Kampong Baru ketika itu.Terkenal kerana keenakan sataynya.Lama juga arwah wan aku berkerja di situ.Wan aku 'cook' untok masakan Melayu.Bahagian sataynya dan western food, wan aku tak handle.Malay food only,please.
Jadi soal makanan masa tu mewah,walaupun kami bukan lah orang kaya.Tapi makan macam orang kaya.Hari2 lauk sodap.Arwah wan aku memang suka memasak.Punya 'eksyen'nya wan kesom aku.Jangan puji masakan orang lain depan dia,marah dia.Tapi memang betul.Masakan wan kesom aku lah yg paling best.Aku rindu rasa masakan dia.Rendang daging dia.Kari ayam dia.Masak korma dia.Kuih muih dia.Kini semuanya hanya tinggal kenangan buat aku.Hmm.
Tak macam dulu.Hari ini kita boleh tengok tempat makan atau restoran di mana2 saja.Restoran Puteri la.Restoren Putera la.Restoran Janda la.Tomyam Lanun la .Macam2.Tapi nak jumpa yg betul2 kena dgn selera payah tuan tuan dan puan puan.Maklumlah, ini zaman orang nak cepat kaya.Kita sentiasa sibuk.Makan asal kenyang,sudah.Seni selera dah tak ada.
Seni selera? ya seni selera.Ingat makan tak ada seni ke? Ada beb.Jangan ingat tak de.
Tak pe, itu cerita lain.
Hari ini kalau kita masok ke dalam restoran atau kedai makan biasa, cuba curi2 pandang ke bahagian dapornya.Bukan dapor memasak yg berapi tu.Maksud aku bahagian dapor tempat makanan di sediakan.Soal kebersihan tu memang la.Perhatikan juga orang yg memasak.
Si tukang masak,kadang2 orang seberang pakk.Ampuun.Takpe la jugak,boleh terima.Yang dari Bangladesh.Dari Burma.Dari India.Dari Nepal pun ada.Aduh.Tuan punya restoran? baru lah orang Malaysia.Apasal? Nak untung banyak.Untung untung untung! Ini lah rosaknya kebanyakkan orang kita.Penyakit nak cepat kaya.
Orang2 asing ni di ajarnya memasak makanan tempatan secara lebih kurang saja.Kemudian di bayar gaji murah.Apa yg kita dapat? Masak lemak cili padi yg tak boleh di telan.Kari yang nampak macam kari, tapi rasa macam p#k!.
Maaf bercakap.
Phui! Celaka orang2 yg berniaga cara haram ni.Nak cepat kaya.
Aku perihatin benda2 macam ni.Ini antara perkara yg perlahan lahan merosakkan budaya kehidupan orang kita.Tapi berapa ramai antara kita yg peka? Aku tengok orang selamba dek je nyekik.Lapar agaknya.Maklum kita terlalu sibuk.
Aku memang agak memilih tentang makan.Kalau di restoran, aku tak kisah kalau mahal sikit asal masakannya sedap.Tapi selalunya aku makan di rumah saja.Masakan isteri.Mana suami yg nak kata ,
"Bro, bini gua masak tak sedap la..".
Kalau ada pun, simpan perasaan aje lah.
Aku orang asia.Melayu.Citarasa makanan aku tentu lah melayu.Blues macamana pun,aku melayu.Tak boleh 'soul stew".Sambal,tempoyak,ulam2man,ikan masin tak boleh reject.Itu kira blues lah.Blues ni juga bermaksud, ROOT.
You know your root man?.
Aku jarang lepak ngeteh kedai mamak.Kekadang ada masa terluang, aku dgn kawan di kedai teh.Macam2 topik cerita jadi bualan.Cerita gitar,musik,politik.Apa2 lah. Aku pun jarang bercakap.Banyak dengar aje.
Cerita makan atau masakan memang tak de punya.Jantan mana lah nak cerita hal begitu.
Mungkin ada yg suka.Tapi segan kot nak jadikan topik bual.Lucu jugak ye kalau orang jantan dudok berborak bab resepi masakan.Maklum orang jantan yg terlibat dgn masak memasak ni banyak yg macam lembut2 gitu.Auuw.. tak kuasa aku.
Mungkin ramai juga kawan2 kita ni yg betah di dapor walaupun jantan sejati.Mana tau?.Yang pastinya ramai yg cuma boleh rebus mi maggi.Asal kenyang sudah.
Aku boleh juga kalau di dapor.Masa jaga wan aku yg dah tak berkeupayaan dulu,masa tu lah aku di ajar memasak.Ada lah sikit2 pengetahuan dari arwah wan aku.Small scale boleh lah.
Bila aku kawin, aku ajar bini pulak.Selamat aku.
Idea banyak nak di luahkan, tapi masa tak ada..malas pun ya jugak!
Ok,
Selamat menjamu selera!
Ada cerita pengalaman sendiri,macam aku.Ada cerita hal lain.Cerita politik.
Cerita ikan mas.Cerita kumbang terbang.Cerita jembalang.Cerita alam jabarut alam malakut.Macam2.Sampaikan yang cerita pasal burit pun ada.Siap gambar lagi.Betul!.Ada.
ASTRO yg dakwa 'macam macam ada' pun kalah.
Ada yang aku faham.Ada yg tidak.Tapi semuanya ada lah sangat menarik untok di baca.
Sekadar mengetahui yg kita manusia ni ada bermacam ragam rempahratus dlm hidupnya.
Bermacam cara meluahkan tentang apa yg di fikir.
Ye lah, nama pun blog.Suka apa lah yang punya blog nak tulis.Nak letak gambar apa pun.
Cuma nanti bila semua di bawah alam ni dah di 'gulung' dan Tuhan dengan penuh angkuh dan takbur mencabar...
"Adakah TUHAN yang lain selain AKU!?"
Hari tu, kita semua jawab lah.
Ok.
Blog aku, cerita biasa2 je.Sebab alam aku alam biasa.Alam nyata.Apa yang ada depan mata.Bukan 'Twilight Zone'.
Di alam nyata ni, antara yang selalu kita hadap ia lah makanan.
Aku nak cerita bab makan.Makan? tak de cerita lain ke?
Dah tu..asyek cerita buskiiiing.Jemu jugak.
Siapa tak suka makan,jangan baca.
Makan! Sluurp..Aku memang suka makan.Tapi tak lah boso dan lahap.Tau apa 'boso'?, gelojoh la.Tengok berok kalau kita bagi dia makanan.Di sumbatnya selagi boleh sampai kembong pipi.Boso la tu.Boso bin gejoloh.Eh, gelojoh.Teringat yang Tok Dollah aku suka guna perkataan ni.Boso.
Sejak kecik lagi aku biasa makan yg enak.Arwah wan kesom aku pakar masak.Maklum sejak muda, itu saja kerjanya.Ambil upah memasak sekitar Kampung Baru.Kemudian wan aku di ambil berkerja di Restoran Majid Satay House.Rasanya itulah restoran bertaraf antarabangsa ketika itu.Sekitar awal tahun 70an.Terletak di batu 2 jln Ipoh. Berhampiran dulunya adalah Pasar Borong Kuala Lumpur.
Majid Satay House di usahakan oleh arwah Haji Majid Satay dan anak2nya.Mereka antara orang2 kaya di Kampong Baru ketika itu.Terkenal kerana keenakan sataynya.Lama juga arwah wan aku berkerja di situ.Wan aku 'cook' untok masakan Melayu.Bahagian sataynya dan western food, wan aku tak handle.Malay food only,please.
Jadi soal makanan masa tu mewah,walaupun kami bukan lah orang kaya.Tapi makan macam orang kaya.Hari2 lauk sodap.Arwah wan aku memang suka memasak.Punya 'eksyen'nya wan kesom aku.Jangan puji masakan orang lain depan dia,marah dia.Tapi memang betul.Masakan wan kesom aku lah yg paling best.Aku rindu rasa masakan dia.Rendang daging dia.Kari ayam dia.Masak korma dia.Kuih muih dia.Kini semuanya hanya tinggal kenangan buat aku.Hmm.
Tak macam dulu.Hari ini kita boleh tengok tempat makan atau restoran di mana2 saja.Restoran Puteri la.Restoren Putera la.Restoran Janda la.Tomyam Lanun la .Macam2.Tapi nak jumpa yg betul2 kena dgn selera payah tuan tuan dan puan puan.Maklumlah, ini zaman orang nak cepat kaya.Kita sentiasa sibuk.Makan asal kenyang,sudah.Seni selera dah tak ada.
Seni selera? ya seni selera.Ingat makan tak ada seni ke? Ada beb.Jangan ingat tak de.
Tak pe, itu cerita lain.
Hari ini kalau kita masok ke dalam restoran atau kedai makan biasa, cuba curi2 pandang ke bahagian dapornya.Bukan dapor memasak yg berapi tu.Maksud aku bahagian dapor tempat makanan di sediakan.Soal kebersihan tu memang la.Perhatikan juga orang yg memasak.
Si tukang masak,kadang2 orang seberang pakk.Ampuun.Takpe la jugak,boleh terima.Yang dari Bangladesh.Dari Burma.Dari India.Dari Nepal pun ada.Aduh.Tuan punya restoran? baru lah orang Malaysia.Apasal? Nak untung banyak.Untung untung untung! Ini lah rosaknya kebanyakkan orang kita.Penyakit nak cepat kaya.
Orang2 asing ni di ajarnya memasak makanan tempatan secara lebih kurang saja.Kemudian di bayar gaji murah.Apa yg kita dapat? Masak lemak cili padi yg tak boleh di telan.Kari yang nampak macam kari, tapi rasa macam p#k!.
Maaf bercakap.
Phui! Celaka orang2 yg berniaga cara haram ni.Nak cepat kaya.
Aku perihatin benda2 macam ni.Ini antara perkara yg perlahan lahan merosakkan budaya kehidupan orang kita.Tapi berapa ramai antara kita yg peka? Aku tengok orang selamba dek je nyekik.Lapar agaknya.Maklum kita terlalu sibuk.
Aku memang agak memilih tentang makan.Kalau di restoran, aku tak kisah kalau mahal sikit asal masakannya sedap.Tapi selalunya aku makan di rumah saja.Masakan isteri.Mana suami yg nak kata ,
"Bro, bini gua masak tak sedap la..".
Kalau ada pun, simpan perasaan aje lah.
Aku orang asia.Melayu.Citarasa makanan aku tentu lah melayu.Blues macamana pun,aku melayu.Tak boleh 'soul stew".Sambal,tempoyak,ulam2man,ikan masin tak boleh reject.Itu kira blues lah.Blues ni juga bermaksud, ROOT.
You know your root man?.
Aku jarang lepak ngeteh kedai mamak.Kekadang ada masa terluang, aku dgn kawan di kedai teh.Macam2 topik cerita jadi bualan.Cerita gitar,musik,politik.Apa2 lah. Aku pun jarang bercakap.Banyak dengar aje.
Cerita makan atau masakan memang tak de punya.Jantan mana lah nak cerita hal begitu.
Mungkin ada yg suka.Tapi segan kot nak jadikan topik bual.Lucu jugak ye kalau orang jantan dudok berborak bab resepi masakan.Maklum orang jantan yg terlibat dgn masak memasak ni banyak yg macam lembut2 gitu.Auuw.. tak kuasa aku.
Mungkin ramai juga kawan2 kita ni yg betah di dapor walaupun jantan sejati.Mana tau?.Yang pastinya ramai yg cuma boleh rebus mi maggi.Asal kenyang sudah.
Aku boleh juga kalau di dapor.Masa jaga wan aku yg dah tak berkeupayaan dulu,masa tu lah aku di ajar memasak.Ada lah sikit2 pengetahuan dari arwah wan aku.Small scale boleh lah.
Bila aku kawin, aku ajar bini pulak.Selamat aku.
Idea banyak nak di luahkan, tapi masa tak ada..malas pun ya jugak!
Ok,
Selamat menjamu selera!
Selasa, 12 Mei 2009
Saudagar Bollywood
Ni saja2 nak meng'update'kan blog aku.
Adalah satu rombongan teater musikal dari luar negara buat persembahan bertajuk..
"Merchant Of Bollywood".
Persembahan mereka sangat berprestij.Di adakan di Istana Budaya.
Tajuknya saja dah 'glam'.Memang sesuai sangat2 dengan selera separuh kalangan rakyat Malaysia.Terutama kaum yg berketurunan dari India dan..orang Melayu.Mungkin ada juga kaum Cina.Orang asing lain pun mungkin ada juga menonton teter ni.
Kalau rakyat dari kaum keturunan India, kita boleh maklum lah.Seni dan citarasa mereka.
Yang orang Melayu ni? Dok tergila2 sangat dengan "Bollywood' ni apa cerita?
Tak salah juga.Sebenarnya, dari pengamatan aku,sesetengah orang melayu ni bukan baru2 ni saja terkena taik 'Bollywood'.Sudah dari dulu lagi.Filem2 klasik melayu tahun 50an dulu pun pengarahnya kebanyakan dari India.Tu sebabnya filem melayu macam filem India.Pengaruh dah dari dulu.Tapi filem Bollywood hari ini maju.Setanding Hollywood.Ulu Klangwood dok kat situ jugak.
"Daey, yenna da?"
Macam tu juga pengaruh muzik.Lagu2 hindustan.Dangdut.Semuanya memang dah lama bertapak dalam kepala otak kita.Aku pun minat seni lengok muzik India ni tapi bukan lah yg macam dlm filem2 hindustan.Berlari dari atas gunung sampai ke bawah.Bergolek atas padang rumput.Kuch Kuch Hota Hai.Bukan jenis tu beb.
Muzik India aku dengar macam Shakti,Ravi Shankar,V.Mohan Bhatt,Tirlok Gurtu, George Harrison dgn puak2 Hare Krishnanya.Nak dengar George Harrison baca mantra hindu, sila cari dlm YouTube.Gelak jugak dengar,tapi best.Atau dengar album "All Things Must Pass".
Banyak musik dari India ni yg cukup bagus.Yang jenis ni tak de kena mengena dgn Bollywood.Jenis ni, ada soul.Ada jazz.Lain beb.
Balek ke tajuk cerita.
Rombongan teater "Merchant Of Bollywood" ni pun sebenarnya, orang putih punya kepala.Orang putih yg menguruskan rombongan ni.Nampak.Orang putih punya pandai.
Harga tiket dari RM70-RM500.Aku rasa tentu habis macam roti canai free.
Artis2 dan orang2 filim tempatan (yang gila glam) pun tentu tak miss.Aku gerenti.Muka dia orang ni pun ada yg macam ala hindustan.
Kalau tak macam hindustan pun dia orang cukup minat dengan muka yang macam tu.
Hindustan oh hindustan.'Stan' maknanya 'Tanah' atau 'negeri'.Jadinya Tanah Hindu.
Lepas ni kita cerita nasi kandar pulak.
Selamat menonton.
Adalah satu rombongan teater musikal dari luar negara buat persembahan bertajuk..
"Merchant Of Bollywood".
Persembahan mereka sangat berprestij.Di adakan di Istana Budaya.
Tajuknya saja dah 'glam'.Memang sesuai sangat2 dengan selera separuh kalangan rakyat Malaysia.Terutama kaum yg berketurunan dari India dan..orang Melayu.Mungkin ada juga kaum Cina.Orang asing lain pun mungkin ada juga menonton teter ni.
Kalau rakyat dari kaum keturunan India, kita boleh maklum lah.Seni dan citarasa mereka.
Yang orang Melayu ni? Dok tergila2 sangat dengan "Bollywood' ni apa cerita?
Tak salah juga.Sebenarnya, dari pengamatan aku,sesetengah orang melayu ni bukan baru2 ni saja terkena taik 'Bollywood'.Sudah dari dulu lagi.Filem2 klasik melayu tahun 50an dulu pun pengarahnya kebanyakan dari India.Tu sebabnya filem melayu macam filem India.Pengaruh dah dari dulu.Tapi filem Bollywood hari ini maju.Setanding Hollywood.Ulu Klangwood dok kat situ jugak.
"Daey, yenna da?"
Macam tu juga pengaruh muzik.Lagu2 hindustan.Dangdut.Semuanya memang dah lama bertapak dalam kepala otak kita.Aku pun minat seni lengok muzik India ni tapi bukan lah yg macam dlm filem2 hindustan.Berlari dari atas gunung sampai ke bawah.Bergolek atas padang rumput.Kuch Kuch Hota Hai.Bukan jenis tu beb.
Muzik India aku dengar macam Shakti,Ravi Shankar,V.Mohan Bhatt,Tirlok Gurtu, George Harrison dgn puak2 Hare Krishnanya.Nak dengar George Harrison baca mantra hindu, sila cari dlm YouTube.Gelak jugak dengar,tapi best.Atau dengar album "All Things Must Pass".
Banyak musik dari India ni yg cukup bagus.Yang jenis ni tak de kena mengena dgn Bollywood.Jenis ni, ada soul.Ada jazz.Lain beb.
Balek ke tajuk cerita.
Rombongan teater "Merchant Of Bollywood" ni pun sebenarnya, orang putih punya kepala.Orang putih yg menguruskan rombongan ni.Nampak.Orang putih punya pandai.
Harga tiket dari RM70-RM500.Aku rasa tentu habis macam roti canai free.
Artis2 dan orang2 filim tempatan (yang gila glam) pun tentu tak miss.Aku gerenti.Muka dia orang ni pun ada yg macam ala hindustan.
Kalau tak macam hindustan pun dia orang cukup minat dengan muka yang macam tu.
Hindustan oh hindustan.'Stan' maknanya 'Tanah' atau 'negeri'.Jadinya Tanah Hindu.
Lepas ni kita cerita nasi kandar pulak.
Selamat menonton.
Perak oh Perak...
Begini je la.
Teman syorkan, satu hari Zamry MB esoknya Nizar pulak,eteh esoknya Zamry pulak, esok laginya Nizar pulak.
Gilir2 le deme nye sampai ke PELIRAYA lagi satu.
Peliraya? binatang apa tu? .Singkatan untok PILIHAN RAYA da.
Pilihan raya ia lah dari sistem demokrasi untok kesejahteraan rakyat.Untok rakyat memilih kerajaan dan pemimpin.Tapi tengok lah apa sudah jadi? Udah macam jenaka.
Perak oh Perak.
Politik oh politik.
Teman syorkan, satu hari Zamry MB esoknya Nizar pulak,eteh esoknya Zamry pulak, esok laginya Nizar pulak.
Gilir2 le deme nye sampai ke PELIRAYA lagi satu.
Peliraya? binatang apa tu? .Singkatan untok PILIHAN RAYA da.
Pilihan raya ia lah dari sistem demokrasi untok kesejahteraan rakyat.Untok rakyat memilih kerajaan dan pemimpin.Tapi tengok lah apa sudah jadi? Udah macam jenaka.
Perak oh Perak.
Politik oh politik.
Kami Bukan Pengemis.
Begitu lah tajuk yg tertera di belakang buletin Keadilan.Bersertakan gambar.Rasanya gambar yang sama aku tengok dlm laman web Meor.
Aku di beritahu oleh Mi Ipoh melalui sms.Mi Ipoh ia lah kenalan aku yg tinggal di Ipoh.Lama juga aku tak berjumpa dgn Mi.
Pulang dari kerja, aku beli lah senaskah.Tujuan untok mengetahui apa yg di tulis selanjut nya tentang tajuk "Kami Bukan Pengemis" ni.Memang aku jarang sangat baca buletin Keadilan.Banyak suratkabar politik.Sejak dari dulu, aku hanya dapatkan HARAKAH.
Artikel yg agak ringkas.Tapi aku tentu bersetuju tentang apa yg di tulis.Memang itu pun aku selalu sentuh dalam blog aku ni.Akta lama yg di gubal sudah tidak relevan dgn kemajuan masyarkat hari ini,sepatutnya di simpan dlm muzium perundangan negara.Tambah pula kerajaan hari ini yg di pimpin oleh Datuk Seri Najib Tun Abdul Razak mengwarwarkan untok mengkaji dan mansuh segala akta2 lama dan lapuk.Termasuk ISA.
Mari kita rakyat lihat sejauh mana kerajaan ini benar2 ikhlas mahu mengkaji dan tahu apa yg sesuai untok kemajuan rakyat hari ini.
Ya betul! Zaman kerajaan tahu segala2nya sudah berlalu! Ini juga selalu di perjelaskan oleh timbalan perdana menteri Tan Sri Mahyudin Yasin.
Tan Sri Mahyudin Yasin pun sudah melihat bagaimana dua orang 'anak jalanan' memberi persembahan di atas pentas di Malam Memperingati Gaza tak lama sebelum naik menjadi timbalan perdana menteri.
Anak2 jalanan itu adalah aku dan Meor.
Persembahan anak2 jalanan mendapat sambutan yg sama gemuruhnya dgn mereka yg bergelar 'artis' popular yang juga ada membuat persembahan.
Bagaimana kami berkarya di jalanan begitu juga kami persembahkan di pentas yg di hadiri oleh para pembesar negara.Memang kami berbangga.
Dari segi imbuhan yg kami dapat jauh bezanya dari artis popular.Tapi cara kami berkarya ada lah setanding.Ini kerana di jalanan, ianya mengajar kami menjadi insan yg lebih mulia dan ikhlas berkarya.Jadi adakah patut kami mendapat 'label' pengemis cuma kerana akta yg di gubal selepas perang dunia ke II itu?
Fikirkan lah wahai bapak2 menteri dan para pengubal undang undang yg bijaksana di atas sana.
Kami di jalanan yg panas ini berusaha untok hidup.Tidak ada antara kami yg datang berkereta yg berhawa dingin kemudian duduk menadah tangan dengan wajah murung penuh kepuraan meminta simpati.
Jadilah orang yg lebih mengenali erti kehidupan orang bawahan.Nescaya kamu mendapat kepercayaan di hormati dan di sayangi.Jika tidak, sia sia lah usaha turun padang untok mengenali nadi kehidupan rakyat.
Rakyat di jalanan inilah sebenarnya nadi kehidupan negara.
Aku di beritahu oleh Mi Ipoh melalui sms.Mi Ipoh ia lah kenalan aku yg tinggal di Ipoh.Lama juga aku tak berjumpa dgn Mi.
Pulang dari kerja, aku beli lah senaskah.Tujuan untok mengetahui apa yg di tulis selanjut nya tentang tajuk "Kami Bukan Pengemis" ni.Memang aku jarang sangat baca buletin Keadilan.Banyak suratkabar politik.Sejak dari dulu, aku hanya dapatkan HARAKAH.
Artikel yg agak ringkas.Tapi aku tentu bersetuju tentang apa yg di tulis.Memang itu pun aku selalu sentuh dalam blog aku ni.Akta lama yg di gubal sudah tidak relevan dgn kemajuan masyarkat hari ini,sepatutnya di simpan dlm muzium perundangan negara.Tambah pula kerajaan hari ini yg di pimpin oleh Datuk Seri Najib Tun Abdul Razak mengwarwarkan untok mengkaji dan mansuh segala akta2 lama dan lapuk.Termasuk ISA.
Mari kita rakyat lihat sejauh mana kerajaan ini benar2 ikhlas mahu mengkaji dan tahu apa yg sesuai untok kemajuan rakyat hari ini.
Ya betul! Zaman kerajaan tahu segala2nya sudah berlalu! Ini juga selalu di perjelaskan oleh timbalan perdana menteri Tan Sri Mahyudin Yasin.
Tan Sri Mahyudin Yasin pun sudah melihat bagaimana dua orang 'anak jalanan' memberi persembahan di atas pentas di Malam Memperingati Gaza tak lama sebelum naik menjadi timbalan perdana menteri.
Anak2 jalanan itu adalah aku dan Meor.
Persembahan anak2 jalanan mendapat sambutan yg sama gemuruhnya dgn mereka yg bergelar 'artis' popular yang juga ada membuat persembahan.
Bagaimana kami berkarya di jalanan begitu juga kami persembahkan di pentas yg di hadiri oleh para pembesar negara.Memang kami berbangga.
Dari segi imbuhan yg kami dapat jauh bezanya dari artis popular.Tapi cara kami berkarya ada lah setanding.Ini kerana di jalanan, ianya mengajar kami menjadi insan yg lebih mulia dan ikhlas berkarya.Jadi adakah patut kami mendapat 'label' pengemis cuma kerana akta yg di gubal selepas perang dunia ke II itu?
Fikirkan lah wahai bapak2 menteri dan para pengubal undang undang yg bijaksana di atas sana.
Kami di jalanan yg panas ini berusaha untok hidup.Tidak ada antara kami yg datang berkereta yg berhawa dingin kemudian duduk menadah tangan dengan wajah murung penuh kepuraan meminta simpati.
Jadilah orang yg lebih mengenali erti kehidupan orang bawahan.Nescaya kamu mendapat kepercayaan di hormati dan di sayangi.Jika tidak, sia sia lah usaha turun padang untok mengenali nadi kehidupan rakyat.
Rakyat di jalanan inilah sebenarnya nadi kehidupan negara.
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